tag:blogger.com,1999:blog-3266940592422630617Fri, 16 Mar 2018 11:28:25 +0000Julianne MooreBradley CooperJake GyllenhaalMark WahlbergOscar IsaacChris PineJames FrancoJennifer LawrenceLiam NeesonMichael Fassbendernaomi wattsJohn GoodmanMatt DamonSteve CarellViola DavisBrie LarsonChristian BaleJessica ChastainJohnny DeppJosh BrolinKristen StewartScarlett JohanssonAmy AdamsBen KingsleyBroadcast Film Critics AssociationChanning TatumCharlize TheronChris HemsworthColin FarrellEmma StoneKeira KnightleyMatthew McConaugheyMeryl StreepNicole KidmanSeth RogenWoody AllenWoody HarrelsonAndrew GarfieldBill MurrayBrad PittColin FirthDavid ThewlisElizabeth OlsenElle FanningGeorge ClooneyHugh JackmanIdris ElbaJames McAvoyJesse EisenbergJonah HillMark RuffaloMelissa LeoMia WasikowskaMichael ShannonMiles TellerMorgan FreemanOctavia SpencerOwen WilsonRichard LinklaterRobert De NiroRyan GoslingSamuel L. 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SandbergDavid FarrierDavid Foster WallaceDavid FreyneDavid Hencik.David HenrieDavid IvesDavid James ElliottDavid KoechnerDavid KoeppDavid KrumholtzDavid LeitchDavid LevauxDavid LipskyDavid Lynch: The Art LifeDavid MackenzieDavid McMahonDavid MitchellDavid MorseDavid OyolowoDavid Patrick KellyDavid PeaceDavid Robert MitchellDavid SchwimmerDavid SiegelDavid SimonDavid StrathairnDavid StrathiirnDavid StrithairnDavid WenhamDavid WnendtDavis CoombeDawn of the Planet of the ApesDax ShepardDayna GoldfineDe La Salle High SchoolDead Man DownDeadpoolDeanDean Ornish.Deanna DunaganDear White PeopleDeath WishDeath of a SalesmanDeborah FrancoisDeborah MailmanDebra WingerDeclaration of WarDecoding DeepakDeep ThroatDeepa MehtaDeepak ChopraDeepwater HorizonDemetri MarinDemetri MartinDemi MooreDemocratic Republic of CongoDemolitionDemonDenersteinDenis LavantDenis LearyDenis MenochetDenis MoschittoDenise Di NoviDennis HauckDennis HaysbertDennis LehaneDenny TedescoDenver Art Students LeagueDenver Film Critics SocietyDerek CiafranceDerek JacobiDerek LukeDerek ZoolanderDeric McCabeDesmond DossDestin CrettonDetroitDevika BhiseDevin DruidDheepanDiamand Bou AbboudDiana AgostiniDiane LaddDiane RouxelDichen LachmanDidier DespresDigging for FireDimitri KalashnikovDinner For SchmucksDiplomacyDisconnectDivian LadyDjango UnchainedDjimon HounsouDoctor StrangeDog Day AfternoonDolly WellsDoloresDolores FonziDolores HuertaDom HemingwayDomhnall GleesonDominc WestDominic CooperDominican RepublicDon JohnsonDon WinslowDon't BreatheDon't Think TwiceDonad CriedDonald GloverDonald RumsfeldDonathan DaytonDonna DeweyDoona BaeDopeDore StrauchDorota KobielaDorothy AtkinsonDoug GlattDoug JonesDoug KennyDoug LimonDoug LionDoug NicholsDouglas HenshallDouglas LimonDouglas TriolaDownsizingDrake DoremusDream AllianceDream is DestinyDreama WalkerDrew GoddardDror MorehDrunk Stoned Brilliant DeadDue DateDuke JohnsonDuncan JonesDunkirkDylan GeorgiadesDylan McDermottDylan McTeeDylan MinetteDylan MoranDylan ReeveE L JamesE.L. JamesEarl Lynn NelsonEarly ManEarth Liberation FrontEatEat That Question: Frank Zappa In His Own WordsEd Begley Jr.Ed BurnsEd HolmesEd O'NeillEd OxenbouldEd SkeinEddie IzzrdEden VillavicencioEdgar Allen PoeEdgar Rice BurroughsEdge of TomorrowEdwardEdward Baker-CloseEdward James OlmosEdward SnowdenEgar RamirezEili HarboeElaine StritchEleanor TomlinsonElenaElena AnayaElena KampourisElena LiadovaElias SchwarzElisabeth OlsenElisabeth RohmElisabeth ShueEliza GonzalezElizabeth DebickiElizabeth MarvelElizabeth McKeeElizabeth MossElizabeth RodriguezElizabeth ShueElla AndersonElla PurnellElla RumpfElleEllen BarkinEllen DeGeneresEllen Dorrit PetersenEllesEllie GraingerEllysiumElodie YungElsa DorfmanElvis & NixonElyse SternbergEmayatzy CorinealdiEmbeth DavidtzEmile HirschEmily BrowningEmily DickensonEmily MortimerEmily WatsomEmjay AnthonyEmma BoothEmma DonahueEmma RossumEmma SuarezEmmanuel JaiEmmanuel Lubezki.Emmanuel SeignerEmmanuelle DevosEmmanuelle RivaEmmanuelle SeignerEnd of WatchEnder's GameEndless PoetryEnemyEnid Gamze ErguvenEnrico ColantoniEqualsEquityErez DriguesEric BalfourEric JohnsonEric LomaxEric LorenEric StonestreetErica RivasErich BergenErin MoriartyErnst StotznerErnst UmhauerErrol FlynnEscape Fire: The Fight to Rescue American HealthcareEscapesEsq.Essie DavisEthan CoenEthan HawksEugene Brave RockEugene CernanEugene JareckiEuropa ReportEva LebuefEva LongoriaEva MendesEvan BirdEvan SternEveEvel KnievelEvelyn MaseEverestEverybody Wants Some!!EverythingEwanEwan BremnerEwen BremenEx LibrisEx MachinaExodus: Gods and KingsExtremely Loud and Incredibly CloseExtremisF. 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Until I Don'tI Smile BackI'll See You In My DreamsI'm Not Your NegroI'm So ExcitedI'm Still HereIan HartIan McKellanIan McShaineIan NelsonIbrahim AhmedIcelandic cinemaIdaIda EngvollIdentity ThiefIdes of MarchIdina MenzelIf I StayIf a Tree FallsIke BarinholtzIl FuturoIlana GlazerImelda StauntnIn A Better WorldIn BetweenIn DarknessIn Loco ParentisIn Order of DisappearanceIn Pursuit of SilenceIn Search of Israeli CuisineIn SecretIn TimeIn a WorldIn the HouseInceptionIndependence Day: ResurgenceIndian restaurantIndignationIndonesian martial artsIngrid BergmanInherent ViceInma CuestaInocenteInside JobInside OutInsurgentInterstellarInto the AbyssInto the StormIp Man 3Iranian cinemaIranian fableIrit ShelegIron LadyIron ManIron Man 3Irrational ManIs the Man Who Is Tall Happy?Isaac Hempstead WrightIsaac LevinIsaach De BankoleIsabel CoixetIsabela MonerIsabella Kai RiceIsaiah WashingtonIsao TakahataIsrael BroussardIsraeliIsraeli movieIssey OgataItIt Comes at NightIt FollowsIt's A Kind of Funny StoryItay TiranIzabela VidovicJ BlakesonJ. EdgarJ.A. BayonaJ.G. BallardJ.K RowlingJ.M.W. TurnerJ.R. AckerleyJ.R.R. TolkienJB SmooveJJ FieldJRJacid EidJack AbramoffJack CocksJack Dylan GrazerJack FoxJack HustonJack PaglenJack ReacherJack Reacher: Never Go BackJack ReynorJack Ryan: Shadow RecruitJack the Giant SlayerJackieJackie ChanJackie Earle HaleyJackie RobinsonJackie SiegelJacob BataillonJacob KoskoffJacob LatimoreJacob RosenbergJacob WysockiJacqueline KennedyJacques CluzaudJacques MesrineJacques PerrinJacques TardiJacques TatiJada Pinkett SmithJade and Margaux SoentjensJaden MichaelJaden SmithJaeden LiberherJafar PanahiJafar Panahi's TaxiJake LacyJake SchreiberJakob DaviesJame BellJames "Whitey" BulgerJames Badge DaleJames BaldwinJames BobinJames BrolinJames BrownJames CordenJames CromwellJames D'AracyJames DornanJames Earl JonesJames FloydJames GrayJames HowsonJames HuntJames IvoryJames LapineJames Le GrosJames MarshJames McTeigueJames PurefoyJames SchmausJames UrbaniakJames VanderbiltJames WoodsJamie AlexanderJamie BlackleyJamie Blackley.Jamie Foxx.Jamie TravisJan BijvoetJan Ole GersterJan VokesJana RaluyJane AdamsJane BirkinJane EyreJane JacobsJane LynchJane SeymourJanelle MonaeJanet McTeeerJanis: Little Girl BlueJared GilmanJared HarrisJarrad Paul and Andrew MogelJasonJason BiggsJason BourneJason DavisJason DohringJason HallJason IsaacsJason MantzoukasJason MomoaJason OsderJason SchwartzmanJason SiegelJavier CamaraJay ChouJay DuplassJean RenoirJean SebergJean-Francois LaguionieJean-Louis TrintignantJean-Loup FelicioliJean-Luc GodardJean-Marc ValleJean-Pierre DardenneJean-Pierre LeaudJeannie BerlinJedd WiderJeff BaumanJeff GarlinJeff MalmbergJeff NicholsJeff PreissJeff RoopJeff Who Lives at HomeJeffrey BlitzJeffrey TamborJemaine ClementJennifer CooligeJennifer JaskinskiJennifer KentJennifer LeeJennifer LopezJennifer WestfeldtJens HultenJeon Do-yeonJeremiah TowerJeremie BeligardJeremie ElkaimJeremy GillespieJeremy Ray TaylorJeremy SaulnierJeremy StrongJermain ClementJermias HerskovitsJeroen PercevalJerome FlynnJersey BoysJerusha HessJerzy Stuhr.Jesse AndrewsJesse OwensJesse T. UsherJesse WakemanJessica AlbaJessica BarthJessica Brown-FindlayJessica RotheJessica SulaJessie DeeterJesus MexaJesuthasan AntonythasanJia Zhang-keJian LiuJill SolowayJillian BellJillian MorgeseJim BeaverJim BelushiJim CaviezelJim Field SmithJim GaffiganJim MickleJim ParsonsJim SturgessJim TaylorJimi HendrixJimi: All Is By My SideJimmy KimmelJimmy O. YangJimmy StrongJing TianJo YangJoachim LafosseJoachim RoenningJoachim RonningJoan ChenJoan CusackJoanna BaconJoanna ScanlanJobsJodhi MayJodi FosterJodorowsky's DuneJody HillJoeJoe AlbanyJoe CarnahanJoe ColeJoe SwanbergJoe's ViolinJoel CoenJoel Edgerton.Joel and EthanJohannes KuhnkeJohannes VermeerJohanssonJohn BernthalJohn BoormanJohn CageJohn CarterJohn CenaJohn ColtraneJohn CuasckJohn D'LeoJohn Erick DowdleJohn GreenJohn HannahJohn HenshawJohn HillcoatJohn KassirJohn KerryJohn Krasinslo. Ted DansonJohn LasseterJohn Lee HancockJohn Leguizamo.John LennonJohn LeydonJohn Lloyd YoungJohn MagaroJohn Malkovich. 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WeinsteinJovan AdepoJoyJoy ManganoJoyce McKinneyJuan Carlos CopesJuan Clarlos MedinaJudah LewisJudith MagreJudy DavisJudy DenchJulia DucournauJulia GarnerJulia JonesJulia StilesJulian AssangeJulian DennisonJulian WadhamJulianna MarguliesJulie ChristieJuliet RylanceJulietaJulius RamseyJumping the BroomJun KunimuraJungJupiter AscendingJurassic WorldJust Before Losing EverythingJustice LeagueJustice SmithJustin ChadwickJustin ChonJustin EdwardsJustin KauflinJustin LinJustin PaulJustin SimienJustin SturgessKahoKaitlin OlsonKaitlyn DeverKalieaswari SrinivasanKamel El BashaKang-ho SongKara HaywardKaran SoniKarren KaragulianKarrie CrouseKat CandlerKate BosworthKate DickieKate MicucciKate UptonKate WalshKatee SackoffKatey SagalKatharina SchuttlerKatharine GrahamKatharine RossKatharine WaterstonKatherine HeiglKathleen MunroeKathryn ErbeKathryn StockettKathy BakerKathy BatesKatie ChangKatie DippoldKatniss EverdeenKatrin SassKaya WilkinsKayan KalhorKazuo IshiguroKeala SettleKeaton Nigel CookeKeep on Keepin' OnKeiichi HaraKeir ChilchristKeith MaitlandKeith RichardsKeith StansfieldKelly MacdonaldKelly ReichardtKelly RohrbachKelsey GrammerKelvin Harrison Jr.Ken AlexanderKen BurnsKen JeongKen KwapisKen LongerganKen MarinoKen StottKen WatanabeKenneth CranhamKenneth WalshKent JonesKerry CondonKessha SharpKevin CostelloKevin CostneKevin JamesKevin JanssensKevin NealonKevin PollackKevin ReynoldsKevin SmithKevin WillmottKey and PeeleKids for CashKiernan ShipkaKierse ClemonsKiersey ClemonsKikiKill The IrishmanKill the MessengerKilling FieldsKilling Them SoftlyKilling of a Sacred DeerKim BodniaKim DickensKim Hwan-heeKim Jee-woonKim Jung-unKim Ki-dukKim Min-heeKim Tae-riKimberly EliseKimberly PeirceKing Arthur: Legend of the SwordKing Kong: Skull IslandKings PointKingsman: The Secret ServiceKirby DickKirby Howell-BaptisteKirin KikiKirk JonesKirsten TanKit KittredgeKitana Kiki RodriguezKnight of CupsKofi SiriboeKogonadaKon-TikiKorangal ValleyKorean moviesKornel MundruczoKoudos SeihounKris AvedisianKrishaKrisha FairchildKristen DunstKristen Scott ThomasKristian LevringKristin DunstKristofer HivjuKristoffer JonerKrstin WiigKrysten RiterKrysten RitterKrzysztof BaginskiKumail NanjianiKuoth WielKwak Do-wonKyle GallnerKyle MooneyKyle Patrick AlvarezKyoshi KurosawaKyra SedgwickLAPDLa Cocina de GabbyLa La Land wins best pictureLa femme et le TGVLaara SadiqLabor DayLabyrinth of LiesLady BirdLady in the VanLaetitia EidoLaggiesLaia CostaLaika StudiosLainie KazanLaird HamiltonLakeith StanfieldLamorne MorrisLampedusaLana WachowskiLance ArmstrongLand Ho!Land of MineLandlineLarenz TateLarryLarry CharlesLarry CrowneLarry DavidLars KraumeLarua DekkerLast Days in VietnamLast Flag FlyingLast Train HomeLaszlo NemesLaura HaddockLaura HarrierLaura LinneyLaura PreponLaura RamseyLaura WadeLaurel HesterLauren AmbroseLauren Anne MillerLauren GreenfieldLauren WeedmanLaurence FishurneLaurent LafitteLaurie CollyerLaurie MetcalfLawlessLay the FavoriteLayla Walet MohamedLe HavreLe Quatro VolteLe TableauLe Week-EndLeBron JamesLea DruckerLea ThompsonLee Chan-dongLee DanielsLee Daniels' The ButlerLee HirschLee Jung-jinLee PaceLee SternthalLee Toland KriegerLee UnkrichLeehom WangLeem LubanyLegendLeighton MeesterLen CariouLena DunhamLenny AbrahamsonLenny AbrahamssonLeos CaraxLes CowboysLes MiserablesLesley Ann WarrenLeslie JonesLeslie Odom Jr.Leslye HeadlandLet Me InLet the Fire BurnLet the Right One InLevan GabriadzeLewis BlackLewis MacDougallLia BugnarLiam CunninghamLiam JamesLiberal ArtsLifeLife During WartimeLife ItselfLight Between OceansLights OutLike CrazyLike FatherLike Someone in LoveLike SonLili ElbeLili TaylorLily James Ben DanielsLimitlessLina KellerLincolnLincoln LawyerLinda BishopLinda CardelliniLinda CarelliniLionel ShriverLior AshkenaziLisa CholodenkoLisa FischerLisa Immordino VreelandLisa KudrowLisa Loven KongsliListen Up PhilipListen to Me MarlonLittle FockersLittle MenLiv LeMoyneLiv TylerLive By NightLive SchreiberLixin FanLizzy CaplanLo and BeholdLockoutLoganLogan LuckyLogan Marshall-GreenLogan MillerLola CretonLola DuenasLola KirkeLondon Has FallenLondon RoadLondon's East EndLone ScherfigLone ScherigLone SurvivorLoopersLoreLoredana SimioliLorelei LinklaterLorraine LevyLos AngelesLos Angeles Couny-USC Medical CenterLou Taylor PucciLou de LaageLouder Than BombsLouis GarrelLouis LetterierLouis ZamperiniLouise OsmondLoveLove & FriendshipLove and Other DrugsLove is StrangeLovelessLovingLoving VincentLow DownLu ChuanLuc BassonLuc BessonLuc DardenneLuca GuadagninoLucas DawsonLucas Jade ZumannLucas TillLucca GuadagninoLuckyLucy DavisLudwig TrepteLuigi CiardoLuis Alberto GarciaLuis GuzmanLuis Hulica LogronoLukas MoodyssonLukas SchwarzLuke PolingLvovLydia TenagliaLynn CollinsLynn SheltonLynne RamseyLyor AshkenaziM. 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FOR MOVIE LOVERS WHO AREN'T EASILY SWEPT AWAY</p>http://denersteinunleashed.blogspot.com/noreply@blogger.com (Robert Denerstein)Blogger1859125tag:blogger.com,1999:blog-3266940592422630617.post-1251132802298408378Thu, 15 Mar 2018 22:10:00 +00002018-03-15T16:10:04.935-06:00Alicia VikanderDaniel WuDominc WestKristin Scott ThomasRoar UthaugWalton GogginsFun sours in formulaic 'Tomb Raider'<b><i>Alicia Vikander takes over the role of Lara Croft in a movie that can't resist formula</i></b>.<br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-Twti20pXuoQ/WqlhGS_-RhI/AAAAAAAAKb4/eVD2Aqxx5wcDiZ1GCLzK--RzQBpVIotowCLcBGAs/s1600/ct-1521024919-cfogbikfnr-snap-image.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://4.bp.blogspot.com/-Twti20pXuoQ/WqlhGS_-RhI/AAAAAAAAKb4/eVD2Aqxx5wcDiZ1GCLzK--RzQBpVIotowCLcBGAs/s400/ct-1521024919-cfogbikfnr-snap-image.jpg" width="400" height="225" data-original-width="550" data-original-height="309" /></a></div><p>“Shoot him, Lara. We can’t let him get to Himiko.”<br />If this line of dialogue from <b><i>Tomb Raider</i></b> doesn’t arouse ripples of excitement for you, you may not be a candidate for the latest attempt to turn a video game into something more than an over-amped funhouse of formulaic plotting and so-so effects.<p>When the line was uttered by one of the movie's characters, I couldn’t help wishing that the <b> Bill Murray</b> of the <i>Ghostbusters </i> era were around to add a wry and preposterous comment. Murray would have known what to say about Himiko, a departed Japanese queen also known as the Mother of Death. Open her tomb and the entire world will be doomed. <p>The main suspense about this edition: Can <b>Alicia Vikander</b> replace <b>Angela Jolie</b> as Lara Croft, the intrepid tomb raider? Small in stature but buffed to the max, Vikander put me in mind of a gym-obsessed Tinkerbell who's motivated by a mixture of iron-willed determination, preternatural leaping ability and a growing commitment to combat evil. <p>Early on, I thought <i>Tomb Raider</i> — which has been directed by <b>Roar Uthaug</b>, the Norwegian filmmaker who brought us <i>The Wave</i> -- might be fun. And it is -- until the movie reaches the island where the notorious, 2000-year-old Himiko has been entombed. <p>The movie opens in the UK where Uthaug stages a nifty bike chase through the streets of East London. An independent spirit, Lara refuses to inherit the Croft fortune. She'd rather work as a bicycle courier. <p>Too bad Lara is stuck with the Croft heritage. Lara's father Richard Croft (<b>Dominic West</b>) left home to find the mythic tomb in the Pacific. Lara grew up with a mentor (<b>Kristen Scott Thomas</b>). Scott Thomas doesn't have much to do in this edition but she looks as if someone dipped her in white powder, denying her even rudimentary hints of a complexion. <p>It has been seven years since Richard launched his island adventure. He is presumed dead.<p>After a few plot manipulations, Lara -- not one to accept conventional wisdom -- decides to retrace her father's steps in hopes of finding dear old Dad alive on the island. <p>To achieve her goal, Lara travels to Hong Kong where she hooks up with Lu Ren (<b>Daniel Wu</b>), the son of the captain who guided Richard to the island where some terrible -- but as yet unknown -- evil might be unearthed. <p>After raging seas wreck Lu's small boat, Lara and Lu are stranded on the island where they're taken prisoner by Mathias Vogel (<b>Walton Goggins</b>), a slave-driver who claims to have killed Lara’s dad. Vogel has been searching for the tomb of Queen Himiko ever since. It's roughly at this point that the movie's fun begins to sour. <p>I’m not sure whether <i>Tomb Raider</i> can match the popularity of the 2001 edition of <i>Lara Croft: Tomb Raider </i> although it’s probably better than the 2003 sequel, <i>Lara Croft, The Cradle of Life</i>.<p><i>Tomb Raider </i>leaves little doubt that it's meant to function as an origins story, setting up what the filmmakers clearly hope will be a healthy franchise life.<p>We’ll see about that: In the meantime, know that <i>Tomb Raider</i> pits Lara against fiendish foes, a storm-tossed sea, a towering waterfall and other dangers which confront her as the script by <b>Geneva Robertson-Dworet</b> and <b>Alastair Siddons</b> goes through genre motions that ultimately can’t totally mask the story’s hollow origins.<p>In short: Uthaug and Vikander can’t make good on the promise of vibrant early scenes. By the end, enjoyment has been overrun by formula -- at least it was by me.<p>http://denersteinunleashed.blogspot.com/2018/03/fun-sours-in-formulaic-tomb-raider.htmlnoreply@blogger.com (Robert Denerstein)0tag:blogger.com,1999:blog-3266940592422630617.post-7091817696701710098Thu, 15 Mar 2018 21:35:00 +00002018-03-15T15:35:16.636-06:007 Days in EntebbeDaniel BruhlDenis MenochetEddie MarsanJose PadilhaLyor AshkenaziNonso AnozieRosamund Pikethe Batseheva Dance ComanyA recreation of a daring Israeli raid<b>7 Days in Entebbe</b> <b><i>isn't a bad movie, but it doesn't dig deep enough to be memorable</i></b>.<br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-elT_Zkftw4U/Wqb2yBAVrQI/AAAAAAAAKbI/a2FjP8IjOQAoj7yz0v5gbQqyV0NLZhN7wCLcBGAs/s1600/3614.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://2.bp.blogspot.com/-elT_Zkftw4U/Wqb2yBAVrQI/AAAAAAAAKbI/a2FjP8IjOQAoj7yz0v5gbQqyV0NLZhN7wCLcBGAs/s400/3614.jpg" width="400" height="240" data-original-width="700" data-original-height="420" /></a></div><p>In 1976, Israel launched Operation Thunderbolt, a daring raid in which a small group of IDF soldiers rescued 102 Israelis who had been passengers on an Air France plane that was hijacked by two Germans and two Palestinians. <p><b><i>7 Days in Entebbe</i></b>, a movie about the hijacking and subsequent Israeli action, arrives nearly 42 years after an event that riveted world attention. <b>Daniel Bruhl</b> and <b>Rosamund Pike</b> headline the cast as German radicals who initially thought they were leading the charge but who quickly were surpassed by Palestinians from the Popular Front for the Liberation of Palestine.<p>The Palestinians took charge once the plane arrived in Uganda, after a refueling stop in Benghazi, Libya. Once in Entebbe, hostages were housed in a decaying airport terminal that was no longer in use. <p>Movies such as <i>7 Days</i> raise an obvious but unavoidable question. Why are we being asked to look at an event that since has been eclipsed by so many other events involving terrorist actions that put innocent civilians in harm's way? In part, the question can be answered with one sentence: Such events are inherently exciting and suspenseful.<p>But for a movie to succeed, it must get beyond that surface and dig deeper? As directed by <b> Jose Padilha</b>, <i>7 Days</i> fails to function as more than a cinematic outline, offering quick looks into the motivation of the story's various players. <p>No stranger to tough, action-oriented movies, Padilha directed the Netflix series<i> Narcos</i> and made <i>Bus 174</i>, a documentary about hostages trapped on a bus in Rio. He also directed <i>Elite Squad</i>, a compelling Brazilian police drama. In 2014, Padilha tried his hand at a Hollywood reboot, a much-derided version of <i>RoboCop </i>. <p><i>7 Days </i> emphasizes the importance of the moment at which the hijackers separated Jews from the non-Jews, evoking memories of Holocaust selections in the minds of the Jewish passengers and among the Israeli public. <p>The highest levels of the Israeli government also took note of the separate treatment of Jews as issues pertaining to saving the hostages were debated. Prime Minister Yitzhak Rabin (<b>Lior Ashkenazi</b>) and Defense Minister Shimon Peres (<b>Eddie Marsan</b>) took different sides.<P>Rabin knew he had to do something but wasn’t entirely sure that he should dismiss the possibility of negotiating with the Palestinians, something that went against Israeli policy forbidding talks with terrorists. Perez favored military action.<p>At one point, Uganda's Idi Amin (nicely played by <b>Nonso Anozie</b>) gets involved. He’s able to persuade the Palestinians to release the French hostages. <p>Padilha’s strangest decision involves the use of the Batsheva Dance Company which does a jarring musical version of <i>Echad Mi Yodea</i> (<i>Who Knows One</i>), a song usually sung at Passover seders. Staged by Israeli choreographer <b>Ohad Naharin</b>, the dance -- seen in rehearsals and eventually in a performance -- proves compelling but because it opens the movie, it tends to upstage the rest of the story and it's never entirely clear why Padihla includes it.<p>To justify the dance sequence, the screenplay must introduce a superfluous tangent, a relationship between a dancer and one of the Israeli soldiers on the Entebbe raid.<p>Whatever Padihla was attempting to accomplish, he winds up looking a bit ridiculous when he alternates between a performance of the dance and the movie's climactic end-of-picture rescue.<p>There’s not much by way of character development among the crew and passengers, aside from a crew member (<i>Denis Menochet</i>) who tries to reason with Bruhl’s character, a publisher of radical books who already has his doubts about the role he’s chosen for himself as a German who may be called upon to kill Jews. The screenplay assigns Bruhl's character a role in saving the lives of the Jewish passengers.<p>Even Pike’s character, a Baader-Meinhof veteran and the more hardened of the two Germans, eventually admits she might have made a wrong choice.<p>Padilha knows how to give a realistic pulse to action, and the movie offers an important footnote at the end. Yonatan Netanyahu (<b>Angel Bonanni</b>), the only Israeli soldier to die in the raid, was the brother of Benjamin Netanyahu, Israel’s current prime minister. <p>Eventually, the movie tells us that if peace ever is to be achieved, Israel must swallow hard and negotiate. <i>7 Days in Entebbe</i> does little to make that conclusion feel like more than a faint hope, an afterthought rather than a genuine expression of conviction.<br />http://denersteinunleashed.blogspot.com/2018/03/a-recreation-of-daring-israeli-raid.htmlnoreply@blogger.com (Robert Denerstein)0tag:blogger.com,1999:blog-3266940592422630617.post-2102989431551715931Thu, 15 Mar 2018 19:10:00 +00002018-03-15T13:10:42.311-06:00Alexandra DeanBombshell: The Hedy Lamarr StoryHedy LamarrHedy Lamarr, great beauty and inventor<div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-55oMiW07w9Q/WqcAtnQOp6I/AAAAAAAAKbY/5AMsgj0w77UfC3Cg4TVbcYo6s6z86PzNACLcBGAs/s1600/1200.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://2.bp.blogspot.com/-55oMiW07w9Q/WqcAtnQOp6I/AAAAAAAAKbY/5AMsgj0w77UfC3Cg4TVbcYo6s6z86PzNACLcBGAs/s400/1200.jpg" width="400" height="240" data-original-width="700" data-original-height="420" /></a></div>In the 1949 movie <i>Samson and Delilah</i>, Victor Mature (as Samson) told <b>Hedy Lamarr </b>(as Delilah) that her kiss had the sting of death. It was Lamarr's great beauty that made the line mildly plausible, even amid the melodramatic pomposity of a Cecil B. DeMille picture. Lamarr could be both irresistible and dangerous, a woman who knew how to use her beauty as a trap. <p>Of course, the great irony is that Lamarr, more than others, saw her beauty as a trap. She wanted to break through that trap -- and she found ways to escape the imprisonment of her image. <p>Director <b>Alexandra Dean</b>'s <b><i>Bombshell: The Hedy Lamarr Story</i></b> doesn't shortchange Lamarr's career but also focuses on other aspects of Lamarr's fascinating, often tumultuous life.<p>Not only was actress Lamarr one of the most beautiful women in the world, she -- along with avant-garde composer <b>George Antheil</b> -- invented a radio guidance system used by Allied forces to track torpedos during World War II. The system was based on frequency hopping, something that's still used in Bluetooth and WiFi -- or at least represented a necessary step in the development of these ubiquitous technologies. <p>Lamarr arrived in Hollywood in the 1930s, having already created a stir with her appearance in an erotic Czech film called <i>Ecstasy</i> (1933). In that movie, Lamarr — then known by her birth name, Hedwig Kiesler -- appeared naked. She also defied convention by faking an orgasm on screen. Actually, the movie's director obtained the illusion by hovering off camera and poking Lamarr with a pin.<p>Despite her notorious reputation (or maybe because of it), Lamarr began appearing in Hollywood movies: She immediately established herself as one Hollywood's great beauties, making films with stars such as Charles Boyer, Clark Gable, and Jimmy Stewart. <p>When the cameras weren't rolling, Lamarr found time to be married and divorced six times. <p>Sadly, Lamarr’s life eventually took a downward turn. She wound up living in New York City, a recluse whose face looked nearly deformed by a surfeit of plastic surgery. One wonders why this woman who felt caged by her beauty worked so hard to maintain it, but like many complicated figures, Lamarr was not without contradictions. <p>Credit Dean with having made an entertaining, informative documentary about a woman whose life never was anything less than intriguing.<br /><br />http://denersteinunleashed.blogspot.com/2018/03/hedy-lamarr-great-beauty-and-inventor.htmlnoreply@blogger.com (Robert Denerstein)0tag:blogger.com,1999:blog-3266940592422630617.post-3504079750109538652Fri, 09 Mar 2018 02:10:00 +00002018-03-08T19:10:07.086-07:00Amanda SeyfriedCharlize TheronDavid OyelowoGringoJoel EdgertonNash EdgertonSharlto CopleyThandie NewtonAn uneven 'Gringo' founders<b><i>The movie features a surprising comic turn from David Oyelowo as a mid-level executive with the world's worst luck</i></b>.<p><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-5c95MvAOp24/WqF4jxJyW4I/AAAAAAAAKaE/fvDPZRO28sAilExQ5QnbdKH5GXjzFUlrACLcBGAs/s1600/000f7e29-800.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://4.bp.blogspot.com/-5c95MvAOp24/WqF4jxJyW4I/AAAAAAAAKaE/fvDPZRO28sAilExQ5QnbdKH5GXjzFUlrACLcBGAs/s400/000f7e29-800.jpg" width="400" height="225" data-original-width="800" data-original-height="450" /></a></div>Another exercise in cynical comedy with a violent streak, <b><i>Gringo</i></b> includes at least one element we haven't seen before: A Nigerian businessman nicely played by <b>David Oyelowo</b> struggles to establish himself in a less-than-honorable segment of the US economy.<p>Overall, though, <i>Gringo</i> seems stuck in a genre rut that’s too familiar to any strike strong chords.<p>It doesn’t help that <i>Gringo</i>'s purposefully convoluted plot revolves around a medical marijuana pill that a variety of different folks are trying to use for ill-gotten gains or that the screenplay involves the kind of strained cleverness that allows for apparently unrelated characters to crisscross.<p>It’s enjoyable to watch Oyelowo, still best known for having portrayed Martin Luther King in <i>Selma</i>, play a beaten-down chump who has piled up some major debt. His immigrant character, who believes in following rules, makes a perfect target for his scheming bosses at a Chicago-based pharmaceutical company, a duo played by <b>Joel Edgerton</b> and <b>Charlize Theron</b>. <p>As the story — most of which takes place in Juarez, Mexico — unfolds, director <b> Nash Edgerton</b> — Joel’s brother — introduces a variety of supposedly colorful characters, some of them outright duds. I'm thinking of a couple (<b>Harry Treadaway</b> and <b>Amanda Seyfried</b>) that works in a guitar shop. These two more or less stumble into the plot as does a predictably ruthless Mexican drug lord (<b>Carlos Corona</b>) known as The Black Panther. <p>Edgerton and Theron fulfill the movie’s dueling viper quotient with Theron giving her all as a woman for whom cunning, calculation, and profane insults come as easily as breathing. At one point -- presumably to show how callous her character can be -- the screenplay has Theron's Elaine do an impression of a deaf woman trying to speak. A line is crossed: An attempt to be funny makes you wince. <p>Also on board, <b>Thandie Newton</b> as the wife of Oyelowo’s beleaguered Harold, a woman whose infidelity constitutes a case of dramatic piling on. <p>But that’s the deal. Nothing goes right for poor Harold as the movie puts him through a half-serious, half-comic wringer that includes the arrival of the brother (<b>Sharlto Copley</b>) of Edgerton's character, a supposedly reformed mercenary who we first meet trying to straighten out his crooked life by doing volunteer work in earthquake-stricken Haiti. <p>Amusing in spurts, <i> Gringo</i> is easily shrugged off, probably because little about it seems plausible or pointed. http://denersteinunleashed.blogspot.com/2018/03/an-uneven-gringo-founders.htmlnoreply@blogger.com (Robert Denerstein)0tag:blogger.com,1999:blog-3266940592422630617.post-8842233108437974745Fri, 09 Mar 2018 00:35:00 +00002018-03-08T17:35:00.218-07:00Alex EssoeDavid FreyneDylan McTeeEllen PageJulius RamseyMidnightersPerla Haney-JardineSam KelleyThe CuredTom Vaughan-LawlorWard HortonTwo helpings of genre<b><i>'THE CURED:' A ZOMBIE FILM WITH MORE THAN BITE</i></b><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-VSxUgV2XkEY/WqAyTKS1T8I/AAAAAAAAKZg/jHQaujRmCGsW2pgrkAF71ccYqhgOm0C_gCLcBGAs/s1600/920x1240.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://3.bp.blogspot.com/-VSxUgV2XkEY/WqAyTKS1T8I/AAAAAAAAKZg/jHQaujRmCGsW2pgrkAF71ccYqhgOm0C_gCLcBGAs/s320/920x1240.jpg" width="320" height="220" data-original-width="920" data-original-height="632" /></a></div>I'm sick of zombies, so it tells you something that I found <b><i>The Cured</i></b> to be a surprisingly effective movie based on a reasonably intelligent screenplay. My positive reaction also may have something to do with the fact that the movie takes place in Ireland and features a strong cast. Here's the set-up: A strange virus has turned many ordinary Irish men and women into vicious flesh eaters. Much damage has been done, but a cure has been developed. Many of those who were attacking their fellow citizens again have achieved normality. There are three catches: First, those cured of this terrible virus remember the havoc they wreaked. Second, some 25 remaining sufferers -- all locked in a secure facility -- have proven resistant to the cure. Third, those who never were infected are brutally prejudiced against those who were. Early on, Senan (<b>Sam Keeley</b>), a cured man, is released from quarantine and taken in by his sister-in-law (<b>Ellen Page</b>), a woman who lost her husband in an attack and who now lives with her young son. The movie may strike some as an allegory about AIDS or some other terrible affliction that produces both physical suffering and social stigma. Director <b>David Freyne</b> creates a chilly atmosphere as he sharpens a conflict between Senan and one of his newly released quarantine buddies (<b>Tom Vaughan-Lawlor</b>). It may be far from perfect, but <i> The Cured</i> has more on its mind than grit and gore. It also benefits from a cast that knows how to make us feel as if what we're watching is grounded in a world populated by real people. <p><b><i>'MIDNIGHTERS' HINGES ON ISSUES OF TRUST</i></b><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-JLhrvATPrPk/Wp8fy81IS5I/AAAAAAAAKZA/9AzKmFPDsNcauUhLx9Yev8MXDUPEQLZfACLcBGAs/s1600/midnighters-kyle-smith.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://4.bp.blogspot.com/-JLhrvATPrPk/Wp8fy81IS5I/AAAAAAAAKZA/9AzKmFPDsNcauUhLx9Yev8MXDUPEQLZfACLcBGAs/s320/midnighters-kyle-smith.jpg" width="320" height="187" data-original-width="788" data-original-height="460" /></a></div>A couple drives down a lonely wooded road on New Year's Eve. If you've ever seen a horror movie or a thriller, you know that it won't be long before this husband and wife will hit something and their lives will change course. Of course, husband and wife, who've been drinking a bit, slam into a man who's standing in the middle of the road, as if waiting to be hit. From that point on, it seems as if <b><i>Midnighter</i>s</b> will be another horror movie about a dead person who refuses to stay dead. But director <b>Julius Ramsay</b>'s debut feature proves more ambitious. The movie becomes a story about eroding trust among a group of characters whose troubles begin when they agree to cover up the accident that kicks off the movie. Lindsey (<b>Alex Essoe</b>) and Jeff (<b>Dylan McTee</b>) bumble their way through the initial cover-up. When Lindsey's younger sister (<b>Perla Haney-Jardine</b>) shows up, the script adds another layer of complication. The plot (and alas some brutal violence) thickens when a man identifying himself as a detective (<b>Ward Horton</b>) arrives, presumably to pose routine questions about the accident. The story seems an excuse to create a situation in which abundant betrayals either can be threatened or unleashed. The screenplay was written by the director's brother, Alston, who once worked as a speechwriter for Secretary of Defense Robert Gates. I wish <b>Midnighters</b> hadn't gone quite so far with a couple of torture scenes, but -- all in all -- the movie qualifies as a promising first feature. <p>http://denersteinunleashed.blogspot.com/2018/03/two-helpings-of-genre.htmlnoreply@blogger.com (Robert Denerstein)0tag:blogger.com,1999:blog-3266940592422630617.post-5785827482995399957Thu, 08 Mar 2018 16:00:00 +00002018-03-08T09:00:00.288-07:00A Wrinkle in TimeAva DuVernayChris PineDeric McCabeGugu Mbagha-RawMadeleine L'EngleMichael PenaMindy KalingOprah WinfreyReese WitherspoonStormy ReidZach Galifianakis'Wrinkle' neither folds nor soars<i><b>Visually abundant adaptation of popular novel falls short on wonder.</b></i>.<br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-F4Wi7Cia94g/WqArDUdHUiI/AAAAAAAAKZQ/mhkRvfBiVRs0F6dxvGu5Uwt-InnaBFaPQCLcBGAs/s1600/awrinkleintime5a984e2171b79.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://3.bp.blogspot.com/-F4Wi7Cia94g/WqArDUdHUiI/AAAAAAAAKZQ/mhkRvfBiVRs0F6dxvGu5Uwt-InnaBFaPQCLcBGAs/s400/awrinkleintime5a984e2171b79.jpg" width="400" height="269" data-original-width="1024" data-original-height="688" /></a></div>A New York Times article about the 90th edition of the Academy Awards referred to director <b>Ava DuVernay</b> (<i>13th</i>, <i>Selma</i>) as “one of Hollywood’s most aggressive advocates for diversity.” It only takes a few minutes of the big-screen adaptation of <b><i>A Wrinkle in Time</i> </b> to know that DuVernay has no qualms about putting her convictions on screen.<p>A somewhat scattered, effects-laden adaptation of a popular novel by <b> Madeleine L’Engle</b>, <i>A Wrinkle in Time</i> stands as both an adventure fantasy and an overdue helping of diverse casting. Its story sends the child of an interracial couple into alternate universes along with her adopted brother and a white teenage boy.<p>That’s not to say that <i>A Wrinkle in Time</i> takes diversity as its theme. Like many of the Disney movies that precede it,<i> Wrinkle </i> is an ode to the importance of family, as well as a recasting of a typical hero’s journey. <p>The movie’s main character — a brainy 13-year-old named Meg (<b>Storm Reid</b>) — faces many tests as she tries to establish herself as a warrior for the light; i.e., all that is good in the universe.<p>DuVernay has said that her movie primarily aims at 12-year-olds and those able to get into a 12-year-old state of mind. As someone for whom 12 barely exists as a memory, I found the movie to be an elaborate helping of children’s theater that proved wanting at the point when it's supposed to reach its emotional crescendo and a little too vague about what constitutes evil in the movie’s visually abundant universe. <p>I also found the cosmology depicted in <i>A Wrinkle in Time</i> a bit confusing but that may not matter to young audiences willing to go with flow in order to enjoy the movie's various odd sights: a beach where a character who embodies evil (<b>Michael Pena</b>) turns up or a strange cave-like place that's home to Happy Medium (<i>Zach Galifianakis</i>), a character whose name explains his outlook. <p>Though it brims with varied settings and costumes, the core of <i>A Wrinkle in Time</i> hinges on a simplistic binary battle between the light and the dark, evil being represented by a spidery looking creation that resembles an ink blot.<p>Three other-worldly beings serve as guides for young Meg’s journey, which involves something called a “tesseract.” As best as I could discern — and with help from Wikipedia — the tesseract is a phenomenon that creates folds in the fabric of space and time, allowing Meg and her companions to travel through the fifth dimension.<p>These guides are women with (what else?) special powers. Mrs. Whatsit (<b>Reese Witherspoon</b>) can turn herself into what looks like a giant green leaf that carries the movie’s adventurers like a magic carpet. Mrs. Who (<b>Mindy Kaling</b>) is a walking Bartlett’s book of quotations; she dispenses the wisdom of others. Mrs. Which (<b>Oprah Winfrey</b>) seems to materialize out of nothing.<p>When we first meet Mrs. Which, she’s clad in silver and as tall as one of those balloons in a holiday parade, looming large over everyone else, a visual choice that mirrors Winfrey’s status in the real-life world of media.<p>Meg’s interplanetary journey is motivated by a devastating loss. Her father (<b>Chris Pine</b>) has been missing for four years as the result of a quest to explore the furthest reaches of the galaxy. Meg was left to make do with her mom (<b>Gugu Mbatha-Raw</b>) and her brother Charles Wallace (<b>Deric McCabe</b>).<p>Meg journeys into other worlds to locate her scientist father and bring him home because, as we long ago learned from the <i>The Wizard of Oz</i>, no matter how intoxicating alternate realities can be, there’s no place like home. <p><b>Levi Miller</b> portrays Calvin O’Keefe, a popular teenager who joins outcast Meg on her trippy pursuits, but his character doesn't seem to have much of a role beyond adding someone with whom younger boys may identify.<p>First seen in <i>Twelve Years A Slave</i>, Reid provides the movie with a solid center. Initially annoying, McCabe’s Charles Wallace grew on me, particularly when his body was taken over by the IT, a disembodied evil that turns him from a brainiac into a painiac.<p>The movie’s production team does a good job creating wavy wrinkles in time as Meg travels in the fifth dimension, and the movie certainly doesn't lack for other forms of visual invention. My favorite: a rigidly conformist suburban community where every kid stands in a driveway bouncing a beach ball in unison, a twisted idea of playtime.<p>I suppose the best fantasies create a sense of wonder that <i>Wrinkle in Time </i> can't quite achieve. It's probably not the keenest of critical insights or the heartiest of endorsements, but after a preview screening and a little reflection, I'd say the movie qualifies as "OK." I'd be lying if I didn't say I was hoping for more.http://denersteinunleashed.blogspot.com/2018/03/wrinkle-neither-folds-nor-soars.htmlnoreply@blogger.com (Robert Denerstein)0tag:blogger.com,1999:blog-3266940592422630617.post-8323447235614967002Mon, 05 Mar 2018 07:35:00 +00002018-03-05T08:11:29.158-07:00An Oscar night with few surprises<div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-jbHQuZrbVo4/WpzepWIfSmI/AAAAAAAAKYw/8S-Enh4IwVoq5ytnlb-VwKbKxujDzcEPACLcBGAs/s1600/Unknown.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://3.bp.blogspot.com/-jbHQuZrbVo4/WpzepWIfSmI/AAAAAAAAKYw/8S-Enh4IwVoq5ytnlb-VwKbKxujDzcEPACLcBGAs/s400/Unknown.jpeg" width="400" height="232" data-original-width="295" data-original-height="171" /></a></div>For its 90th anniversary, the Academy Awards showcased an unusually diverse crop of films in an evening that unfolded in utterly predictable fashion.<p>Marked mostly by an evenness of tone and few memorable displays of personality, the ceremonies took place on one of the most unfortunately garish sets ever. I read that the <i>LA</i> <i>Times</i> had reported that the set was designed to look like the inside of a geode. Question: Why in a year that was supposed to celebrate openness why did Hollywood choose the inside of a rock as its set? Answer: Perhaps because it afforded an opportunity to build a 10-ton proscenium arch made from 45 million crystals. <p>As for the show … <p><b>Jimmy Kimmel</b> opened the proceedings with a relaxed, well-delivered monologue that may not have killed but was funny enough. Kimmel didn’t do much after that, aside from adding a distracting bit in which he took a bunch of stars to a nearby theater to hand out goodies to an audience that was watching a preview showing of director Ava DuVernay’s <i>A Wrinkle in Time</i>.<p>For a moment, Kimmel's stunt gave the Oscars a ridiculous game show aura. I don’t know about you, but my list of things I’d hoped never to see includes <b>Lupita Nyong’O</b> handing out Red Vines.<p>The excursion outside the Dolby Theater wasn't the only game-show-like flare. Kimmel did another bit in which the Oscar recipient who delivered the shortest acceptance speech would receive a Jet Ski. <b>Helen Mirren</b> rode the Jet Ski onto the stage. Oh dignity, where art thou?<p>References to dreamers, #TimesUp and calls for inclusion were accompanied by a tribute to military-themed movies, a transparent attempt to show that Hollywood isn’t totally full of left-leaning liberals who have no idea what happens in mainstream America.<p>In the days leading up to the Oscars, prognosticators were calling the best-picture race too-close-to-call, a near dead heat between <i>The Shape of Water</i> and <i>Three Billboards Outside Ebbing, Missouri.</i> <p>In the end, <b>Shape of Water</b> won the Oscar for best picture. The movie won four Oscars in all, including best director for <b>Guillermo Del Toro</b>. Del Toro, who grew up in Mexico, proudly and pointedly called himself "an immigrant" in his acceptance speech.<p>The evening perked up quite a bit with <b>Frances McDormand</b>’s acceptance speech after she took the Oscar for best performance by a lead actress for her work in <i>Three Billboards Outside Ebbing, Missouri</i>. <p>After the customary thanks, McDormand set her Oscar on the stage floor and wound up for what felt like it would be a scolding from a principal at a school assembly. Instead, she asked every female nominee to stand. She not only called for more diversity in movie-making but insisted on it.<p>McDormand probably also sent viewers to Google to look up the two words with which she ended her speech: “inclusion rider." She was calling for additions to contracts that mandate gender and racial diversity.<p><i>Three Billboards</i>, which had both avid supporters and angry detractors, had to content itself with acting Oscars for McDormand, and for <b>Sam Rockwell</b>, who won in the best supporting actor category.<p><b>Allison Janney</b> won the best-supporting-actress Oscar for playing Tonya Harding's mother in <i>I, Tonya</i>. Janney began her speech with a memorable first line: "I did all by myself." Of course, she immediately made amends, continuing with the obligatory list of people she needed to thank.<p><b>Ashley Judd</b>, <b>Salma Hayek</b> and <b>Annabella Sciorra</b> — three women who have gone public with their accusations of Harvey Weinstein's sexual misconduct — called for more diversity in film.<p>This year’s awards seemed to follow a something-for-everyone arc:<p>-- Many were hoping <i>Get Out</i> would win best picture; it didn't but it did win best original screenplay for writer/director <b>Jordan Peele</b>.<p>-- <b>Phantom Thread</b> won an Oscar for best costumes. <p>-- <i>Dunkirk</i> took some technical awards (best editing, best sound editing, and best sound mixing) but couldn’t work its way to the top in the major categories. <p>-- <b>James Ivory</b>’s adapted screenplay for <i>Call Me By Your Name </i> was recognized, making the 89-year-old screenwriter the oldest person ever to receive an Oscar. <p>-- <i>Darkest Hour</i> not only netted a best actor Oscar for <b>Gary Oldman</b> -- unrecognizable as Winston Churchill -- but for the folks who did Oldman's phenomenal make-up.<p>-- No one should have been surprised that <i>A Fantastic Woman</i>, a Chilean movie about a transgender woman who fought with the family of her late lover, took the award for the best foreign-language film. Its victory had been widely predicted.<p><i>Lady Bird</i>, an early-season darling that began the evening with five nominations including best picture, went home empty-handed, as did another best-picture nominee, <i>The Post</i>. <p>I wasn't unhappy that <i>Icarus</i>, which helped call attention to the Russian doping scandal, won an Oscar for best documentary, but I really wanted to see 89-year-old Agnes Varda (<i>Faces Places</i>) give an acceptance speech.<p>I agree with those who watched the show and suggested that <b>Tiffany Haddish</b> and <b>Maya Rudolph</b>, two of this year's presenters, should be frontrunners to host next year's show. <p>After last year's fiasco, it probably made sense to have <b>Warren Beatty</b> and <b>Faye Dunaway</b> announce the best-picture winner. You could almost hear the show's producers calling, "Faye. Warren. Come home. All is forgiven."<br />I don’t know how many people saw the Oscar shorts programs, but those who did may have been a little surprised to see <b>Kobe Bryant </b> holding an Oscar for <i>Dear Basketball</i>, a self-serving animated short about his love of the game.<p>During the Oscars, <b>Wesley Morris</b>, who writes for the <i>New York Times</i>, perceptively tweeted: “Kobe Bryant has an Oscar. And Stanley Kubrick does not.”<p>Oh well, who said anything about Hollywood makes sense?<br /><a href="http://variety.com/2018/film/news/2018-oscars-winners-list-academy-awards-1202713535/">A complete list of winners</a> can be found in today's edition of Variety.http://denersteinunleashed.blogspot.com/2018/03/an-oscar-night-with-few-surprises.htmlnoreply@blogger.com (Robert Denerstein)0tag:blogger.com,1999:blog-3266940592422630617.post-8615928164292631051Fri, 02 Mar 2018 16:35:00 +00002018-03-02T09:35:03.717-07:00Oscar looms. Who will win?Maybe it's me. Or maybe it's the mind-disrupting flood of daily news out of Washington. Maybe it's the skepticism induced by shifting concerns that Hollywood never entirely addresses -- from #OscarsSoWhite to #metoo to #NeverAgain. Or maybe it's the fact that most of the major Oscar-nominated movies qualify as niche efforts, films that either do or could turn up at film festivals, events where Academy Awards once were considered irrelevant in discussions of film art. Or maybe it's the fact that we're all suffering from awards fatigue, already having indulged in the Critics' Choice Awards, the Golden Globes and all the awards given by the industry's various craft unions and guilds -- actors, directors, editors, producers, etc.<p>Over the years, I've written about the diminishing impact of the Academy Awards and I have no desire to rehash old observations about the dizzying growth of entertainment options that compete with movies or the way celebrity over-exposure has taken much of the thrill out of seeing the stars come out for an evening of high style. <p>Still, it's the Oscars and the name still evokes nostalgic memories of movie primacy, even as we wonder about the future of big-screen entertainment. And for all the commentary about the ascendance of great and important TV, I wonder if there's an actor or director alive who'd trade an Oscar for an Emmy if given the choice.<p>But enough of all that.<p>Among other things, the arrival of Oscar means it's time to make a few predictions, and, as usual, I'll throw in my two cents, which happens to be a little more than I think most Oscar predictions are worth.<p>So, for what it's worth here are my picks, along with selections of what might happen if I'm wrong. <p><b>Best Picture</b><br />Lots of observers see this as a too-close-to-call race between <i>Shape of Water</i> and <i>Three Billboards</i>. Wouldn't it be great if vote splitting pushed <i>Get Out</i> to the front of the line?<br />Will win: I lean toward <i><b>Shape of Water</b></i>, but the late ascendance of <i>Three Billboards Outside Ebbing, Missouri</i> makes the race the most difficult to predict.<br /><b>Best Actress</b><br />Will win: <b>Francis McDormand</b>, <i>Three Billboards Outside Ebbing, Missouri</i><br />Possible upset: Saoirse Ronan, <i>Lady Bird</i><br /><b>Best Actor</b><br />Will win: <b>Gary Oldman</b>, <i> Darkest Hour</i><br />Oldman's strongest oppposition: Timothee Chalamet, <i>Call Me By Your Name</i><br /><b>Best supporting actress</b><br />Will win: <b>Allison Janney</b>, <i>I, Tonya</i><br />Janney's strongest opposition: Laurie Metcalf, <i>Lady Bird</i><br /><b>Best Supporting Actor</b><br />Will win: <b> Sam Rockwell</b>, <i>Three Billboards Outside Ebbing, Missouri</i><br />Rockwell's strongest opposition: Willem Dafoe, <i>The Florida Project</i><br /><b>Best director</b><br />Will Win: <b>Guillermo del Toro</b>, <i>The Shape of Water</i><br />Biggest possibility for an upset: Jordan Peel, <i>Get Out</i><br /><b>Best Original Screenplay</b><br />Will win: <b><i>Get Out</i></b><br />Equally strong: <i>Three Billboards Outside Ebbing, Missouri</i><br />This is a category that's worth special note as Oscar's evening unfolds. If <i>Three Billboards</i> wins best original screenplay, it may signal that the movie has a real chance to take home best picture.<br /><b>Best Adapted Screenplay</b><br />Will win: <b><i>Call Me By Your Name</i></b><br />Possible upset: <i>Mudbound</i><br /><b>Cinematography</b><br />Will win: <b>Blade Runner 2049</b><br />In the running: <i>Dunkirk</i><br /><b>Animated Feature</b><br />Will win: <b><i>Coco</i></b><br />Possible upset: None<br /><b>Foreign Language Film</b><br />Will win: <b><i>A Fantastic Woman</i></b><br />Possible upset: <i>The Insult</i><br /><b>Documentary</b><br />Will Win: <b><i>Icarus</i></b><br />In contention: <i>Faces Places</i><br />As of this writing, weather forecasters are predicting a cold wet evening in Los Angeles for Oscar Sunday. I encourage one and all (myself included) to resist all attempts at metaphor-making. <br /><br /><br />http://denersteinunleashed.blogspot.com/2018/03/oscar-looms-who-will-win.htmlnoreply@blogger.com (Robert Denerstein)0tag:blogger.com,1999:blog-3266940592422630617.post-6380922988740394492Fri, 02 Mar 2018 00:30:00 +00002018-03-03T08:01:40.759-07:00Bruce WillisCamila MorroneDean NorrisDeath WishEli RothElizabeth ShueKimberly EliseVincent D'OnofrioDo we need a 'Death Wish' reboot?<b><i>Bad timing and plain old badness should put the newly minted edition of </i></b> <b>Death Wish</b> <i><b>on ice</b></i>.<br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-nKzgs7-JAn4/WpeDSSBEjxI/AAAAAAAAKYU/BAOFJ_SR7jESCdYgnZvoRPLz8gFUPLhiQCLcBGAs/s1600/images.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://1.bp.blogspot.com/-nKzgs7-JAn4/WpeDSSBEjxI/AAAAAAAAKYU/BAOFJ_SR7jESCdYgnZvoRPLz8gFUPLhiQCLcBGAs/s320/images.jpeg" width="320" height="190" data-original-width="292" data-original-height="173" /></a></div>It has been roughly 44 years since the release of the original <i>Death Wish</i>, a vengeful bloodbath of a movie that played on widespread fears about urban violence. <b>Charles Bronson</b> starred as a vigilante who "made death wishes come true" for a variety of sneering miscreants.<p>When the movie was released, Vincent Canby, then the principal film critic of the New York Times, wrote this: "It's a despicable movie, one that raises complex questions in order to offer bigoted, frivolous, oversimplified answers."<p>Roger Ebert awarded the movie three stars, crediting it for creating "eerie fascination" but also pointing out that <i> Death Wish</i> was "propaganda for private gun ownership and a call to vigilante justice."* <p>Now comes director <b>Eli Roth</b>'s remake starring <b>Bruce Willis</b>. Roth moves the story from New York to Chicago and converts the movie's vigilante from an architect to a surgeon. He also loses anything you might call "eerie fascination" or any other qualities that might be called redeeming.<p>For those who are unfamiliar with this hoary revenge-fest, it goes like this. A physician and his wife (<b>Elizabeth Shue</b>) are living a happy life in Evanston, Ill. when their home is burglarized by three thugs, a crime that results in the death of the doctor's wife. The family's teenage daughter (<b>Camila Morrone</b>) is also wounded. She winds up in a coma. <p>Willis' Paul Kersey and his brother (<b>Vincent D'Onofrio</b>) are, of course, inconsolable. Kersey was at work at the time of the burglary, and, therefore, believes he failed in his manly duties to protect home, hearth, and -- of course -- the women in his life.<p>A couple of Chicago detectives (<b>Dean Norris</b> and <b>Kimberly Elise</b>) are sure they'll catch the killers, but the wheels of justice don't seem to be turning fast enough for Kersey, who -- in this mildly updated 21st century edition -- even visits a therapist.<p>Frustrated and grief-stricken, Kersey decides to pick up a gun. His actions earn him a nickname: He's the Chicago Grim Reaper, a man who kills only those who deserve punishment. Among the Reaper's victims, an inner-city drug dealer who goes by the name of Ice Cream Man. <p>Instead of creating sickening urban exploitation, Roth treats audiences to an equally dubious helping of what might be deemed "gun fun," sometimes adding comic spin to the movie's abundant violence. Presumably, we're meant to find visceral satisfaction in Kersey's forays into the night as he dons a hoodie and takes justice into his own hands. Of course, he also hopes to find his wife's killers.<p>Roth, who has directed horror movies such as <b>Cabin Fever</b> and <b>Hostel</b>, needs no introduction to gore and he dishes out plenty of it, including a gruesome torture sequence in which (spoiler alert) Dr. Kersey slices open a miscreant's sciatic nerve.<p>Only violently expressed vengeance seems to snap Kersey out of his grief and depression. His vengeful rampage makes him feel better, and his behavior lights up talk radio airwaves as callers are encouraged to debate whether he's a "zero or a hero." <p><i>Death Wish</i> has less to say about the agony of grief than about the supposed thrill of rapid gunfire. Moreover, a DYI attempt at dispensing justice by a well-educated white man seems especially tin-eared in the post-Trayvon Martin era. Add Parkland and a heated national conversation about guns and who should wield them, and the movie becomes even more reprehensible. <p>I'm not sure we ever needed a <i>Death Wish</i> reboot, but we sure as hell don't need one now.<p>*Thanks to Rotten Tomatoes for the ability to quickly check reviews on older movies.http://denersteinunleashed.blogspot.com/2018/03/do-we-need-death-wish-reboot.htmlnoreply@blogger.com (Robert Denerstein)4tag:blogger.com,1999:blog-3266940592422630617.post-1247938791839080147Thu, 01 Mar 2018 23:10:00 +00002018-03-01T16:10:01.377-07:00Charlotte RamplingCiaran HindsJennifer LawrenceJeremy IronsJoel EdgertonMary Louise ParkerMatthias SchoenaertsRed Sparrowspy movies'Red Sparrow' doesn't fly high<b><i>Jennifer Lawrence takes up the role of a Russian spy</i></b>.<br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-n0mRPNH5fbA/WpYccSzd6fI/AAAAAAAAKX4/EJ3ju-N-0DotrSnU8mwLrTA3PyMhkFY7gCLcBGAs/s1600/kioypsytvlnuxetdqnld.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://3.bp.blogspot.com/-n0mRPNH5fbA/WpYccSzd6fI/AAAAAAAAKX4/EJ3ju-N-0DotrSnU8mwLrTA3PyMhkFY7gCLcBGAs/s400/kioypsytvlnuxetdqnld.jpg" width="400" height="267" data-original-width="800" data-original-height="534" /></a></div>Those damn Russians will stop at nothing when it comes to advancing their cause. <p>\<br />No, we're not talking about interference in the last presidential election, but about the spycraft that tends to shape relations between Russia and the rest of the world. <p>Of course, we're also talking about a movie in which the Russians have invented a special spy-training agency that teaches men and women the fine arts of seduction and manipulation. Humiliation and intimidation are used to turn female students into "whores" for the Motherland, wiping out any traces of propriety or pity. <p>Those who make it out of the program are called Sparrows. <p>The aptly titled <b><i>Red Sparrow</i></b> stars <b>Jennifer Lawrence</b> as Dominika Egorova, who -- at the movie's outset -- is an acclaimed star of the Bolshoi ballet. Dominika’s career comes to an abrupt end when her leg is broken by a clumsy dance partner during a performance.<p>Eager to preserve her Bolshoi privileges — mostly for the sake of her ailing mother — Dominika follows the advice of her sleazy uncle (<b>Matthias Schoenaerts</b>), a man who happens to be a part of the Russian intelligence establishment. Without knowing exactly what's involved, Dominika agrees to be trained as a Sparrow. <p>Working with director <b>Francis Lawrence</b>, who directed Lawrence in a couple of <i>Hunger Games</i> movies, Lawrence (Jennifer, that is) has no trouble portraying a powerful woman who learns to walk the fine line between convincing her superiors that she’s all in with the Sparrow program and trying to preserve some of her personal integrity.<p>That’s no easy task considering she’s working for a branch of the intelligence service that believes her body belongs to the state.<p>Added to the mix are an American CIA agent (<b>Joel Edgerton</b>) who offers Dominika a way out of her complicated predicament, Dominika’s hardened instructor in Sparrow World (<b>Charlotte Rampling</b>), another Russian intelligence agency big-wig (<b>Jeremy Irons</b>) and the head of Russian intelligence (an under-utilized <b>Ciaran Hinds</b>).<p>Much has been written about Lawrence’s nude scene, which reveals most (but not all) of an actress who certainly has the charisma and smarts to carry a movie that’s presumably trying to attain franchise status. Lawrence creates a bold, sexy character who's also capable of calculated bursts of fury.<p>Unfortunatley, Lawrence isn't enough to save the day. A convoluted plot, boiled down from a novel by <b>Jason Matthews</b>, results in an often murky spy drama enriched by a variety of locations — from Moscow to Budapest. <p>The movie attempts a somewhat tepid romance between Edgerton’s CIA man, a character who finds himself on the outs with the CIA after he blows his cover protecting a source. Edgerton gives a muted performance that dampens any sparks that could have enlivened his relationship with Dominika. p><br />The movie's atmosphere isn’t one defined by virtue. Many of the characters are advancing personal agendas, notably, an American traitor portrayed by <b>Mary-Louise Parker</b> who has possession of floppy discs that both the Russians and Americans are eager to get their hands on.<p>There’s no point dwelling on a plot that generates too little suspense, but it should be noted that <i>Red Sparrow</i> includes a brutal scene of torture which many will find difficult to watch.<p>Downbeat and doom-struck, <i>Red Sparrow</i> doesn’t reflect the kind of intricate intelligence that defines spy movies adapted, say, from the work of author <b>John LeCarre</b> nor does it offer the brash pleasures of overstated action we associate with movies with blockbuster aspirations.<p>The result: A medium-grade thriller that relies on Lawrence and a reliable cast, but which comes off as watered-down and more than a bit weary.http://denersteinunleashed.blogspot.com/2018/03/red-sparrow-doesnt-fly-high.htmlnoreply@blogger.com (Robert Denerstein)0tag:blogger.com,1999:blog-3266940592422630617.post-6062622910326472071Thu, 01 Mar 2018 16:00:00 +00002018-03-01T09:00:06.870-07:00Adris KesishaAlexey RozinAndrey ZvaginstevLovelessMarina VasilyevaMaryana SpivakMatvey NovikovA child goes missing, a society is revealed<b><i>A couple in the Russian movie</i></b> <b>Loveless</b> <b><i>proves profoundly neglectful</i></b>. <br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-yg-_1UQtwlc/WpRxTMFA3oI/AAAAAAAAKXU/ZRgUfvUY8wcHkxDrBWyESu4jeuG2e7j0ACLcBGAs/s1600/Loveless_resize.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://3.bp.blogspot.com/-yg-_1UQtwlc/WpRxTMFA3oI/AAAAAAAAKXU/ZRgUfvUY8wcHkxDrBWyESu4jeuG2e7j0ACLcBGAs/s400/Loveless_resize.jpg" width="400" height="267" data-original-width="1000" data-original-height="668" /></a></div>No one who sees the Russian movie <b><i>Loveless</i></b> will find the title misleading.<p>Director <b>Andrey Zvyaginstev</b> (<i>Leviathan</i>) skillfully paints a powerful portrait of characters for whom self-interest trumps everything — even the welfare of a child.<p>Full of chilly winter images, <i>Loveless</i> tells the story of two warring parents (<b>Alexey Rozin</b> and <b>Maryana Spivak</b>), a husband and wife so preoccupied with their own lives that they’ve become indifferent to the life of Alyosha (<b>Matvey Novikov</b>), their 12-year-old son. Early on we see the boy standing in a darkened corner of his parents' Moscow apartment; he cries as they engage in a vituperative battle.<p>Not long after this painful night, the boy goes missing.<p>But <i>Loveless</i> isn’t so much about the search for the boy as it is about the lives of two people who clearly never should have been parents in the first place. Rozin’s Borris worries that his boss, a staunch Christian, will fire him if he learns about Borris’ impending divorce. <p>For her part, Spivak’s Zhenya alternates between fury at her estranged husband and involvement in a relationship with a new lover (<b>Andris Keisha</b>), a guy who seems to have a bit of money and who expresses no interest in her role as a mother.<p>Boris, too, has taken up another relationship. He’s already gotten a woman named Masha (<b>Marina Vasilyeva</b>) pregnant. She's pushing for all his attention.<p>Zvyaginstev, who allows images to linger to the breaking point, seems less interested in making a police procedural — the police eventually become involved in the search for the boy — than in creating a grim picture of society in which values have dangerously eroded.<p>The fate of poor Alyosha makes itself felt in nearly every frame of <i>Loveless</i> — even when the movie's focus is elsewhere. That's part of why Zvyaginstev succeeds in indicting not only two horrible parents but the society whose values — or lack of them — produced such terrible neglect.<p>For the record: <i>Loveless</i> earned a spot as one of this year’s five nominees for a foreign-language Oscar.<p>http://denersteinunleashed.blogspot.com/2018/03/a-child-goes-missing-society-is-revealed.htmlnoreply@blogger.com (Robert Denerstein)0tag:blogger.com,1999:blog-3266940592422630617.post-1731145074094882797Thu, 01 Mar 2018 02:10:00 +00002018-02-28T23:41:01.020-07:00Bruno GanzCherry JonesCillian MurphyEmily MortimerKristin Scott ThomasPatricia ClarksonSally PotterThe PartyTimothy Spall'Party' guests are out for blood<b><i>Despite a strong cast, director Sally Potter's arch little movie takes us nowhere we haven't been before</i></b>.<br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-H-lNMpMgYYU/WpRtiz23FPI/AAAAAAAAKXI/VupUXjV2IzcmXZJJXkmWu2CsWRSdVJ_BgCLcBGAs/s1600/film-2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://3.bp.blogspot.com/-H-lNMpMgYYU/WpRtiz23FPI/AAAAAAAAKXI/VupUXjV2IzcmXZJJXkmWu2CsWRSdVJ_BgCLcBGAs/s320/film-2.jpg" width="320" height="240" data-original-width="800" data-original-height="600" /></a></div><p>It concerns me to know that I’ve sometimes felt the way <b>Timothy </b>Spall looks in <b><i>The Party</i></b>, a slender black comedy filmed in black-and-white. But even at a shockingly brief one hour and 11 minutes, <i>The Party</i> feels as if it could have been condensed into a 40-minute short as it builds toward a nifty punchline.<p>Spall, who has never projected so much doom and futility, portrays a British academic whose doctor has given him a fatal diagnosis. Haggard and expressionless, Spall’s Bill seems the personification of pitiless depression.<p>Joining Spall's Bill in this happily bitter ensemble piece are his wife Janet (<b>Kristin Scott Thomas</b>) and a variety of friends: the catty, mordant April (<b>Patricia Clarkson</b>), her bromide-spouting boyfriend (<b>Bruno Ganz</b>), a coke-snorting financial executive (<b>Cillian Murphy</b>), and a lesbian couple portrayed by <b>Cherry Jones</b> and <b>Emily Mortimer</b>.<p>The group has gathered to celebrate Janet’s appointment to a ministerial post in the department overseeing Britain's health. <p>The movie revolves around Albee-style insults that the characters hurl at one another while harboring secrets that will be revealed as the movie builds toward its final surprise. <p>Part of the trouble with movies such as <i> The Party</i> is that they seem to ask us to feel superior to their embittered, pretentious characters while creating few points of real identification. <p>Directed by <b>Sally Potter</b>, who also wrote the screenplay, <i>The Party</i>'s main thrust -- the celebration that goes terribly wrong -- feels awfully familiar. Clarkson deftly delivers her character’s withering lines and Spall convincingly dangles at the end of his character’s rope, but <i>The Party</i> passes without arriving at a consequential destination.http://denersteinunleashed.blogspot.com/2018/02/party-guests-are-out-for-blood.htmlnoreply@blogger.com (Robert Denerstein)0tag:blogger.com,1999:blog-3266940592422630617.post-1176998920189696573Thu, 22 Feb 2018 23:10:00 +00002018-02-22T17:25:50.311-07:00Alex GarlandAnnihilationBenedict WongGina RodriquezJennifer Jason LeighOscar IsaacTessa ThompsonTuva Novotny Imaginative highs and consternation<b>Annihilation</b> <b><i> casts Natalie Portman as a biologist who combats a strange extraterrestrial force</i></b>.<br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-ajLS0TLS4eQ/Wo2GM3H8l8I/AAAAAAAAKWU/U0gOvvgOA5s750279qwtNjPhiKMG2jCdwCLcBGAs/s1600/annihilation-natalie-portman.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://3.bp.blogspot.com/-ajLS0TLS4eQ/Wo2GM3H8l8I/AAAAAAAAKWU/U0gOvvgOA5s750279qwtNjPhiKMG2jCdwCLcBGAs/s400/annihilation-natalie-portman.jpg" width="400" height="201" data-original-width="1000" data-original-height="503" /></a></div><p>Director <b>Alex Garland</b> follows 2015’s brilliant <i>Ex Machina</i> with a movie that’s likely to provoke equal amounts of consternation and pleasure. In <b><i>Annihilation</i></b>, a loose adaptation of the first in a sci-fi trilogy by author <b>Jeff VanderMeer</b>, Garland imagines a world in which a mysterious and unwanted guest — dubbed The Shimmer — arrives on Earth. A viscous-looking force field, The Shimmer seems to be an extraterrestrial visitor that possesses staggering disruptive powers -- and it's spreading. <p>As a great admirer of <i>Ex Machina</i>, I found myself accumulating an increasingly mixed response to <b>Annihilation</b>, fascination and dread accompanied by a sense of disconnection as I vainly waited for the movie to gather something resembling profound force -- or at least the illusion of such force. <p>In what amounts to a prologue, Garland introduces us to Lena (<b>Natalie Portman</b>), a grieving biologist who teaches at Johns Hopkins University. Lena’s husband (<b>Oscar Isaac</b>), a soldier, has been missing for about a year. The two met when Lena also served in the Army.<p>One day, Isaac’s character mysteriously reappears. He doesn’t seem to remember where he’s been; his face has the blank look of someone who has been anesthetized. Suddenly, he begins bleeding from the mouth and must be rushed to a hospital. <p>At this point, Lena and her husband are spirited off to an outpost that seems strangely removed from anything resembling normal life. Lena learns that her husband is on life support and that she inadvertently has involved herself in a government effort to understand The Shimmer.<p>It doesn’t take long for Lena to join the latest expedition that's about to enter The Shimmer in an attempt to reach the spot where it first landed, a lighthouse.<p>Movies long have sent small patrols on dangerous missions, offering violent shocks along the way. <i> Annihilation </i> distinguishes itself by sending an all-female cast into the fray. Lena joins forces with a paramedic (<b>Gena Rodriguez</b>); a physicist (<b>Tessa Thompson</b>, and an anthropologist (<b>Tuva Novotny</b>). Skilled in the use of combat weapons, the women are led by a psychologist who previously selected those who would enter the Shimmer. So far, only Lena's broken husband has returned from such a mission. <p>It’s worth pointing out that Gena specializes in cellular-level investigations of cancer: Perhaps The Shimmer can be seen as a kind of traveling intergalactic cancer that has invaded the Earth. It has begun to mess up the DNA of both plants and animals, producing unholy combinations, interspecies creatures such as a giant albino alligator with the teeth of a shark or a bear whose bite may remind you of the creature in <i>Alien</i>.<p>The movie's attacks are graphically presented and geared to producing knots in most stomachs. <p>Garland’s greatest achievement involves the creation of the world inside The Shimmer, a multi-colored fungal paradise where dangers lurk and everything feels a few clicks away from normalcy. You almost can feel the dampness as the quintet of women moves deeper into The Shimmer's embrace. <p>The movie’s atmosphere feels strange and novel, but even as it seeps into your pores, some conventional conflicts emerge, well conveyed by the movie's players. Of these, Portman portrays the character with the most extensive backstory. Her stated reason for entering The Shimmer: To save her husband, which also means saving her marriage. I won't say more. <p>Garland wisely refuses to explain The Shimmer, allowing it and us to wallow in ambiguity. Is it a living thing? Does it have desires or is it simply a wanton force that indifferently spreads genetic nihilism? <p>It’s always precarious to try to read the mood of a preview audience, but I’d say that <i>Annihilation</i> came to an end without creating a widely shared response among those who had just seen it. Speculation on my part, of course, but you usually can tell when a movie has connected with an audience — even if you’re not on the receiving end of that connection.<p>There are reasons that audiences may be put-off. Garland tells much of the story in flashbacks as men in Hazmat suits question Lena. These intermittent interrogations stall the movie's narrative engine. It’s also possible that the movie's finale is too ambiguous to produce a collective “wow.” <p><i>Annihilation </i> follows Lena to the end of the story; the result is creepy enough but it’s not clear that <i>Annihilation</i> will produce many blown minds. Maybe this is a case where laudable ambitions couldn't carry Garland far enough to make us more than interested -- if perplexed -- tourists in a weirdly conceived world. There, basic elements shatter and recombine in ways that, like the movie, startle and intrigue without ultimately cohering.<br /><br /><br />http://denersteinunleashed.blogspot.com/2018/02/imaginative-highs-and-consternation.htmlnoreply@blogger.com (Robert Denerstein)0tag:blogger.com,1999:blog-3266940592422630617.post-8394884245731683553Thu, 22 Feb 2018 22:10:00 +00002018-02-22T15:10:16.204-07:00In BetweenMaysaloun HamoudMouna HawaSana JammeliehShaden KanbouraA look at three Palestinian women<b>In Between</b> <b><i> focuses on life for Arab women in Tel Aviv</i></b>.<br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-7iHKCbO4iHk/WonQjuC-_UI/AAAAAAAAKVc/_dkkeeTSFGYHf7wxkWKx6Ro-E-OsbvBxgCLcBGAs/s1600/05INBETWEEN1-master768-v3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://3.bp.blogspot.com/-7iHKCbO4iHk/WonQjuC-_UI/AAAAAAAAKVc/_dkkeeTSFGYHf7wxkWKx6Ro-E-OsbvBxgCLcBGAs/s400/05INBETWEEN1-master768-v3.jpg" width="400" height="267" data-original-width="768" data-original-height="512" /></a></div><p>If at least two of the Palestinian women in the movie <i>In Between</i> didn’t live in Tel Aviv, you might have a difficult time telling them apart from any other women their age. And that may be the point of director<b> Maysaloun Hamoud</b>'s keenly observed slice of Arab life in contemporary Israel. I especially value movies such as Hamoud's because they’re committed to the kind of statement that cinema always needs and too seldom makes: This -- the filmmaker says -- is how we live.<p>To start the cultural pot boiling, Hamoud introduces a new element into the lives of two roommates. The apparently religious Noor (<b>Shaden Kanboura</b>) moves in with two boldly secular women: <b> Mouna Hawa</b>'s Leila, a lawyer who works on criminal cases, and <b>Sana Jammelieh</b>'s Salma, an aspiring DJ who has held a variety of jobs. She's also a lesbian.<p>Noor, a student of computer science, takes up residence with these mismatched companions after her cousin moves out of the apartment and recommends that Noor, claiming to be bothered by dormitory noise, take her place. <p>Perhaps this unseen cousin had something more in mind than providing Noor with a good environment for study. Maybe she wanted to broaden Noor's exposure to a life about which she knows little. <p>Not surprisingly, Noor and her new roommates don’t always see eye-to-eye about how women ought to behave. The differences can lead to conflicts, mostly presented with a sympathy for both sides and without sitcom-like exaggeration.<p>The men in Hamoud’s movie represent different poles of male dominance. Wissam (<b>Henry Andrawes</b>), Noor’s tyrannical fiance, rigorously objects to her association with these free-spirited, independent-minded women. <p>The other important man in the movie — <b> Mahmud Shalaby</b>’s Ziad — is attracted to Leila and she to him, but eventually, Hamoud tests Mahmud's willingness to support Leila’s independence.<p>The story expands to include contacts with Noor and Salma’s respective families and, as a result, shows both the religious and social diversity of Israel’s Palestinian population. <p>Both the Christian and Islamic traditionalists we meet tend to view Leila and Salma as corrupted and perhaps beyond redemption. To the Western eye — at least to my Western eye — they could be young women living just about anywhere.<p>The movie includes a disturbing scene about which little should be revealed to avoid spoilers, and although Hamoud clearly sides with these women, she’s in tune with the complexities that challenge all of her characters. <p><i>In Between</i> has the feel of lives depicted by someone who understands the difficulties of living under the strains of being an Arab in Israel and of dealing with a tradition-bound society that has difficulty accommodating women who want to chart their own courses. The result is engaging, lively and tough-minded enough to earn serious attention.http://denersteinunleashed.blogspot.com/2018/02/a-look-at-three-palestinian-women.htmlnoreply@blogger.com (Robert Denerstein)0tag:blogger.com,1999:blog-3266940592422630617.post-1753667287923030146Thu, 22 Feb 2018 21:10:00 +00002018-02-22T14:10:05.138-07:00Alex Ross PerryBruce DernCatherine KeenerEllen BurstynJames Le GrosJohn HammJohn OrtizMark PellingtonNostalgiaSorting through the stuff of life<div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-mpAeBPFrSfo/WoxiHC8RGwI/AAAAAAAAKV4/-Xi78vp1b-g7uA7wzas2LjH9u3EIKrx0gCLcBGAs/s1600/WMGOFOS3ENEF7BMYTL7L5DCKKY.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://3.bp.blogspot.com/-mpAeBPFrSfo/WoxiHC8RGwI/AAAAAAAAKV4/-Xi78vp1b-g7uA7wzas2LjH9u3EIKrx0gCLcBGAs/s320/WMGOFOS3ENEF7BMYTL7L5DCKKY.jpg" width="320" height="180" data-original-width="1400" data-original-height="788" /></a></div><b><i>Nostalgia</i></b> boasts a strong cast, a willingness to carry some heavy emotional weight and an anthology-like structure. But (and you probably knew there was a "but" coming), the movie plays like a collection of ideas and monologues fueled by a sincerity that isn't quite the same as insight or hard-won dramatic truth. Several semi-linked stories ponder the relationship between memory and the possessions people accumulate over a lifetime. <b>John Ortiz</b> portrays an insurance assessor who puts a price tag on such things; he begins by meeting with an elderly man (<b>Bruce Dern</b>) who's going through an evaluation of his belongings. Next, we meet a widow portrayed by <b>Ellen Burstyn</b>. When her home was destroyed by fire, she managed to save only one thing, a baseball autographed by Ted Williams. The ball was one of her late husband's cherished possessions. The movie's longest segment involves <b>Jon Hamm</b> as a savvy but compassionate trader of collectibles. After his parents move into an assisted living facility, Hamm's character finds himself helping to dispose of the things they've left behind. He also lands in the middle of a tragedy involving his sister (<b>Catherine Keener</b>) and her husband (<b>James LeGros</b>). The movie sometimes confuses the maudlin and the meaningful, proving of interest only for a cast that deserved a more unified and incisive screenplay. Screenwriter <b>Alex Ross Perry</b> (<i>Queen of the Earth</i>, <i>Listen Up Philip</i>) doesn't get the job done, leaving director <b>Mark Pellington </b> (<i>Arlington Road</i>, <i>The Mothman Prophecies</i>) to lean heavily on his actors. Otherwise, <i>Nostalgia</i> comes off as a kind of dramatic estate sale, a look into the lives of characters who are stuck contemplating the stuff of their lives -- and doing it much too literally.http://denersteinunleashed.blogspot.com/2018/02/sorting-through-stuff-of-life.htmlnoreply@blogger.com (Robert Denerstein)0tag:blogger.com,1999:blog-3266940592422630617.post-6619912892772324998Thu, 15 Feb 2018 22:35:00 +00002018-02-15T15:35:23.781-07:00A Fantastic WomanAline KuppenheimDaniela VegaFrancisco ReyesNicolas SaavedraSebastian LelioLove in a time of gender fluidity<i><b>Oscar nominee,</b></i> <b>A Fantastic Woman,</b> <i><b>takes us to Chile where a transgender woman finds herself in conflict with her dead lover’s family.</b></i><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-rouIqSKPv-4/WoHg1l5C5kI/AAAAAAAAKT8/wRji50DkOWsMQXIUFALFB4wxVX8XsABywCLcBGAs/s1600/ct-1518017491-kp7zvkgv4j-snap-image.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://1.bp.blogspot.com/-rouIqSKPv-4/WoHg1l5C5kI/AAAAAAAAKT8/wRji50DkOWsMQXIUFALFB4wxVX8XsABywCLcBGAs/s400/ct-1518017491-kp7zvkgv4j-snap-image.jpg" width="400" height="225" data-original-width="550" data-original-height="309" /></a></div><b><i><br />A Fantastic Woman</i></b> tells the story of the war between a transgender woman and the family of her deceased lover, heightening its emotional impact with a magnetic performance from <b>Daniela Vega</b> as Marina, a trans waitress whose creative side emerges when she sings in the cabarets of her hometown, Santiago, Chile. <p>Nominated for an Oscar in the best foreign language film category, <i>A Fantastic Woman</i> opens as if it’s going to be a traditional rom-com. Marina and Orlando (<b>Francisco Reyes</b>) seem like an ideal couple. They enjoy each other’s company and share a sexual attraction. The two are out for an evening. They’re celebrating Marina's birthday and preparing for a romantic vacation trip.<p>It’s at that point that director <b>Sebastian Lelio</b> pulls the rug out from under Marina — and us. On the eve of their trip, Orlando dies of an aneurysm. <p>From that point on, the movie presents Marina with a twofold challenge: She struggles to gain a measure of acceptance from Orlando’s family while fending off constant assaults on her identity as a woman. <p>Informed by routine bigotry, the police question Marina about whether she may have been complicit in the 57-year-old Orlando’s death. Suspicions also are raised that Marina may have been out to bilk an older man. A detective wants to know if she was paid to have sex with Orlando.<p>It doesn’t take long for Orlando’s family to make their feelings known. Orlando’s former wife (<b>Aline Kuppenheim</b>) and his adult son (<b>Nicolas Saavedra</b>) aren’t shy about expressing their contempt for Marina. To make matter worse, they bar Marina from attending Orlando’s funeral.<p>Only Orlando’s older brother (<b>Luis Gnecco</b>) tries to be a little sympathetic to Marina’s position. <p>The conflicts in <b> A Fantastic Woman</b> are distinctly (if not distinctively) drawn. And there’s little question about where Lelio (<b>Gloria</b>) expects our sympathies to lie.<p>As for the second matter — how a transgender woman is perceived — the film proves more interesting, involving Marina in a variety of confrontations that strike at the core of her being. <p>At one point, Orlando’s son tells Maria, “I don’t know what you are.” <p>She says that she’s the same as him — human. <p>I suppose that's the challenge that Lelio presents to an audience, to see Marina simply as human -- and perhaps to realize that the real questions that torment Marina's antagonists only can be addressed by the now unavailable Orlando. Did his family really know him at all?<p>A singer and model by trade, Vega gives a performance that encompasses both Marina's ferocity and vulnerability. She ably advances the movie’s best instincts, those that celebrate a spirited woman whose only aim is to have the legitimacy of her grief recognized and respected.<br />http://denersteinunleashed.blogspot.com/2018/02/love-in-time-of-gender-fluidity.htmlnoreply@blogger.com (Robert Denerstein)0tag:blogger.com,1999:blog-3266940592422630617.post-6389189551356175891Thu, 15 Feb 2018 20:10:00 +00002018-02-15T13:10:04.642-07:00Aardman AnimationsEarly ManEddie RedmayneNick PartTimothy SpallTom HiddlestonAardman again achieves its goal — silliness<div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-tPpqU2ef68c/WoXLzPN88UI/AAAAAAAAKVA/94U8K-TlsDgdra85lBdK2yyeAB0oAJbEwCLcBGAs/s1600/EM_-website-660x371.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://4.bp.blogspot.com/-tPpqU2ef68c/WoXLzPN88UI/AAAAAAAAKVA/94U8K-TlsDgdra85lBdK2yyeAB0oAJbEwCLcBGAs/s320/EM_-website-660x371.jpg" width="320" height="180" data-original-width="660" data-original-height="371" /></a></div>Generally, I’ve liked the work of Britain's Aardman Animations, the folks who gave us <b>Wallace & Gromit</b>. Aardman’s <b><i>Early Man</i></b> follows the studio's <i>Shaun the Sheep</i> movie (2015) with a story built around a shamelessly ridiculous notion. Hapless cavemen from the Stone Age face off in a high-stakes game of soccer with a Bronze Age championship team. You probably didn’t know that soccer — football to the Brits — was invented during the Stone Sage, but fell out of favor with cavemen who never were able to win a big game. Time passed and the sport was taken over by the more advanced Bronziacs. As usual, voice work in an Aardman movie hits the spot. Tom Hiddleston provides the voice for Lord Nooth, a greedy Bronze nobleman who wants to gobble up all the bronze he's able to obtain -- legally or otherwise. <b>Eddie Redmayne </b> gives voice to Dug, the movie’s hero, a cave dweller who tries to whip his unruly cohorts into a bona fide soccer team.<b> Timothy Spall</b> does duty as the voice of Chief Bobnar, the aging head of the caveman clan and director <i>Nick Park</i> goes vocal as Hognob, the cheerful pig companion of the cavemen. As the creator of <i>Wallace & Gromit</i>, Park knows his way around this kind of animation and there are clever bits, many of them arriving as asides. Not as funny as expected or quite as wild as it might have been, <i>Early Man</i> boasts some of the trademarks of Aardman characters, bemused figures with hearts as big as their oversized chompers. Score this one as “amusing.”http://denersteinunleashed.blogspot.com/2018/02/aardman-again-achieves-its-goal.htmlnoreply@blogger.com (Robert Denerstein)0tag:blogger.com,1999:blog-3266940592422630617.post-8229790506198435890Thu, 15 Feb 2018 18:35:00 +00002018-02-15T11:36:14.622-07:00Chinese animationHave a Nice DayJian LiuAn animated helping of Chinese noir<div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-KyEyUvE4ZEk/WoHmvnDYIHI/AAAAAAAAKUU/eVeHGEkvDn0wGAYX7vvO4RTbD9AqNrx-QCLcBGAs/s1600/have-a-nice-day_wide-e552d4a3d4d243074da15054ac2ce1a06b981208-s800-c85.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://3.bp.blogspot.com/-KyEyUvE4ZEk/WoHmvnDYIHI/AAAAAAAAKUU/eVeHGEkvDn0wGAYX7vvO4RTbD9AqNrx-QCLcBGAs/s400/have-a-nice-day_wide-e552d4a3d4d243074da15054ac2ce1a06b981208-s800-c85.jpg" width="400" height="225" data-original-width="800" data-original-height="450" /></a></div>Writer/director <b>Jian Liu</b> tackles adult animation in <b><i> Have a Nice Day</i></b>, a slyly cynical helping of neo-noir filmmaking. Liu puts money at the center of a plot that introduces us to a variety of characters who exist on the margins of Chinese society. The story kicks off when a low-level driver steals money belonging to Uncle Liu, a gangster who seems to have been pulling the strings of crime so long he's a bit bored by his own ruthlessness. Many different folks look for the money as the world-weary Liu orders a variety of subordinates to do his bidding. Among them, a butcher named Skinny who works as a hitman. Watching <b>Have a Nice Day</b> feels like turning the pages of a wily graphic novel set in a trashed-out industrial town where neither the Chinese economic miracle nor the remnants of Mau's ideological boom have much relevance. To emphasize the point, the movie defines three levels of freedom, all revolving around money. First freedom: Buy stuff at the local market. Second level: Buy at a supermarket. Third level: Purchase goods online. Jian creates a world in which nothing soars and money-grubbing wears just about everyone out. If you think about it, there's a fitting response -- sort of an ironic shrug -- to what the movie has to say, something simple really: "Have a Nice Day."http://denersteinunleashed.blogspot.com/2018/02/an-animated-helping-of-chinese-noir.htmlnoreply@blogger.com (Robert Denerstein)0tag:blogger.com,1999:blog-3266940592422630617.post-4948640210258194102Wed, 14 Feb 2018 23:10:00 +00002018-02-14T18:03:09.805-07:00Andy SerkisBlack PantherChadwick BosemanDanai GuriraLupita Nyong'oMartin FreemanMichael B. JordanRyan Coogler'Black Panther' elevates the comic-book genre<b><i>Chadwick Boseman stars in a fine Marvel Comics movie with a feel all its own</i></b>.<br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-gDZTFR5msIE/WoMmuosgFKI/AAAAAAAAKUk/w2DbdyHX67En8TPaJJ6hmXpIoyROpck9ACLcBGAs/s1600/black-panther-3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://1.bp.blogspot.com/-gDZTFR5msIE/WoMmuosgFKI/AAAAAAAAKUk/w2DbdyHX67En8TPaJJ6hmXpIoyROpck9ACLcBGAs/s400/black-panther-3.jpg" width="400" height="225" data-original-width="1000" data-original-height="563" /></a></div>Director <b>Ryan Coogler</b> begins <b><i>Black Panther</i></b>, his Marvel Comics adventure, in Oakland in 1992. Although we’re looking at the streets of a city where kids play basketball on decaying courts, the ensuing sequence adds a whole other dimension. It starts with a knock on the door of a small apartment adjoining the basketball courts. One of the men in the apartment checks the peephole and says that a couple of "Grace Jones-looking chicks" are knocking. <p>I won’t reveal more except to say that in this Oakland-based prologue, we meet a king, two of his female soldiers and the king’s treacherous brother -- all from the mythical African kingdom of Wakanda.<p>That’s a lot of information for a movie that hasn’t really even started. But it’s telling because Coogler (<i>Fruitvale Station</i> and <i>Creed</i>) wastes no time linking the lives of those kids on an Oakland playground to an ennobling mythos that draws on African tradition. The movie involves a fair measure of fantastic developments, but they feel solidly grounded.<p>Whatever meanings you read into <i>Black Panther</i>, you’ll find a movie that’s filled with the kind of commanding characters who do as much to create the movie’s world as the CGI razzle-dazzle Coogler also employs. <p>The story centers on T’Challa (<b>Chadwick Boseman</b>), prince and soon-to-be-king of Wakanda. Wakanda allows the world to believe that it's impoverished and irrelevant. The country appears bereft but hides its true face from the world. In Wakanda, tradition and advanced technology mingle without strain; tribal culture is maintained while amazing technical feats routinely are accomplished.<p>Coogler, who wrote the screenplay with <b>Joe Robert Cole</b>, deftly balances action, exposition and a large cast of characters that includes T’Challa’s love interest (<b>Lupita Nyong’o</b>), a woman with her own agenda. Nyong'o's Nakia feels duty bound to use Wakandan knowledge to help an ailing world, so much so that she puts civic obligation before love.<p>We also meet a variety of other characters, the most important of them a ruthless refugee from Oakland named Erik Killmonger (<b>Michael B. Jordan</b>). Killmonger, a man with a giant chip on his shoulder and a plan to arm the world's non-white populations, eventually challenges T’Challa, a.k.a, the Black Panther, for his throne.<p>Perhaps because of the way Coogler creates the appealing landscapes and urban environments of Wakanda -- almost an African Shangrila -- and perhaps because the movie seldom feels less than mythic and elevated, <i>Black Panther</i> differentiates itself from every other movie ripped from the pages of Marvel Comics.<p>It's also encouraging to discover that the women in <i>Black Panther</i> boldly claim their turf. In addition to Nakia, there’s General Okoye (<b>Danai Gurira</b>), a warrior who wields a mean spear and who's ferociously loyal to Wakanda. T’Challa’s sister Shuri (<b>Letitia Wright</b> adds brashness as the young woman who invents and controls most of Wakanda’s miraculous high-tech inventions. Her obvious counterpart, Q in the James Bond movies — only with a devilish streak.<p>The women in the cast are in fine form, and so are the men, especially Jordan who's scary good as a man at war with the world. Unassuming and unburdened by an overload of machismo, Boseman’s Black Panther makes an appealing superhero. Better yet, he shares the movie with every other actor without ever getting lost in the action, plot mechanics, and comic-book jargon.<p><i>Black Panther</i> probably will give Boseman his widest exposure yet, but he’s already proven that he’s a terrific actor in earlier work. (He should at least have been nominated for an Oscar for his stunning portrayal of James Brown in the underrated <i>Get On Up</i>.)<br /><i>Black Panther</i> more or less divides into two parts. In the first, Ulysses Klaue (<b>Andy Serkis</b>), an arms dealer, steals an African artifact from a British museum. We quickly learn that the artifact is made of Vibranium, the mysterious substance on which Wakandan civilization and the Panther's powers have been built. Klaue thinks he’s gotten hold of something that will make him rich, but his meanness is no match for those with bigger dreams.<p>At this point, we also meet Everett K. Ross (<b>Martin Freeman</b>), a CIA agent who gets swept up in Wakanda's affairs. I haven't even mentioned Daniel Kaluuya (<i>Get Out</i>), who plays one of T'Challa's allies. <p>And, yes, there’s abundant action, most of it decently handled by Coogler — from car chases in the cramped streets of Seoul, South Korea, where the movie takes up early residence to a final battle in Wakanda involving clashing warriors and charging giant rhinos.<p>Coogler and his team deserve credit for creating a great-looking and distinctive entertainment. But this is one helping of popular culture in which effects don't dominate every scene and characters have room to breathe. That’s good news for Marvel and even better news for those in the audience who think they’ve already had enough comic-book movies to last a lifetime.http://denersteinunleashed.blogspot.com/2018/02/black-panther-elevates-comic-book-genre.htmlnoreply@blogger.com (Robert Denerstein)0tag:blogger.com,1999:blog-3266940592422630617.post-5747030730822049744Thu, 08 Feb 2018 22:35:00 +00002018-02-09T09:26:23.545-07:00Dakota JohnsonE.L. JamesFifty Shades FreedJames FoleyJamie DornanNiall LeonardRita Oro'Fifty Shades' reaches its end -- thankfully<b><i>Soft-core sex and soft-headed plotting make this chapter a bore</i></b>.<br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-2gsR4kM9yWU/Wntw_Rn8JcI/AAAAAAAAKTY/m5QMR_McJXUEoL2nz80e40gyql2VCQT_wCLcBGAs/s1600/FiftyShadesFreed_trans_NvBQzQNjv4Bq3480UNUU8UfSxDSaY1n7MBMSxGIR1rd_-iNIxL4YeIk.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://3.bp.blogspot.com/-2gsR4kM9yWU/Wntw_Rn8JcI/AAAAAAAAKTY/m5QMR_McJXUEoL2nz80e40gyql2VCQT_wCLcBGAs/s400/FiftyShadesFreed_trans_NvBQzQNjv4Bq3480UNUU8UfSxDSaY1n7MBMSxGIR1rd_-iNIxL4YeIk.jpg" width="400" height="250" data-original-width="618" data-original-height="386" /></a></div><p>Anastasia and Christian Grey are now married. Don't feel bad. I wasn't invited to the wedding, either.<p>But I did see some of the photos. In fact, <i>Fifty Shades Freed</i>, the third movie featuring the bondage-loving couple of E.L.James' best-selling trilogy, opens with <b>Dakota Johnson</b> and <b>Jamie Dornan</b> reprising their roles as Anastasia and Christian by exchanging vows.<p>There's dancing at a glamorous reception before the happy couple hops on a private jet and heads to Paris. Of course, no honeymoon would be complete without a set of handcuffs to spice things up in the bedroom of Christian's luxury yacht, another part of the honeymoon trip.<p>Much of <i>Fifty Shades Freed</i>'s one-hour and 45-minute running time involves sex scenes staged in various expensive surroundings as the Greys learn to adjust to married life. He's still too possessive; she bristles a little at the loss of some of her independence. <p>Don't fret, though. The Greys' idea of kissing and making up may involve being strapped to a wall, but it seems to work for them. <p>In this gauzy, soft-core world, money is no object. Maybe that's why the Greys feel free to bore us with their inane lives and well-sculpted bodies, putting the latter on display in much the same way as the trendy furnishings of the Grey's apartment or the film's fashionable settings.<p>If there's a strategy here, it might have something to do with pleasing the eye and subduing the restless mind. Anastasia's bare breasts and Christian's exposed butt substitute for plot points as the movie leafs through one coffee-table image after another. <p>Director <b>James Foley</b> takes charge of the conclusion of the <i>Fifty Shades</i> trilogy, which strains to find something to do with its two protagonists by introducing thriller elements in the final going. <p>The first movie, which was directed by <b>Sam Taylor-Johnson</b>, had the distinction of being better than anyone imagined it could be. The next two, both directed by Foley? Not so much.<p>You can tell a movie is running low on imaginative gas when it must work in a car chase, this one involving prominent display of Grey's spiffy Audi with Anastasia at the wheel.<p>Other characters appear, notably Anastasia's ex-boss (<b>Eric Johnson</b>) and one of her gal pals (<b>Eloise Mumford</b>). <b>Rita Ora</b> portrays Christian's sister. <b>Marcia Gay Harden</b> returns as Christian's mom.<p>None of these secondary characters matter because the movie runs them over as it pushes Anastasia and Christian toward conventional family life -- at least as it's lived in soft-headed fantasies that treat reality as if it were a disease no movie ever would want to catch. <p>http://denersteinunleashed.blogspot.com/2018/02/fifty-shades-reaches-its-end-thankfully.htmlnoreply@blogger.com (Robert Denerstein)0tag:blogger.com,1999:blog-3266940592422630617.post-925287872189302901Thu, 08 Feb 2018 21:10:00 +00002018-02-08T14:10:06.250-07:00documentaries and animationOscar-nominated shorts: live actionOscar shorts go long on hot topicsIt's time to focus on short films again.<p>This week, shorts in all Oscar-nominated categories (live action, animation, and documentaries) will be available for viewing at a variety of outlets around the nation.<p>My impression: Taken as a whole, the nominees aren't quite as strong as they've been in previous years, but that doesn't mean that you won't find stimulating fare in all categories. Besides, the Oscar shorts packages provide us with an opportunity to support the kind of filmmaking that isn't subject to the customary and often-oppressive commercial constraints that sometimes limit mainstream filmmaking.<p>First, the live action shorts: These include a variety of films about topical subjects, many inspired by real-life events. A gunman invades a school in <i> Dekalb Elementary</i>. A Christian woman is terrorized by Al-Shabaab in <i>Watu Wote: All of Us</i>. The 1955 murder of 14-year-old Emmett Till becomes the focus of <i>My Nephew Emmett</i>.<p><i><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-w_O5ijFviu4/Wnjhdf8av8I/AAAAAAAAKSs/xT9AfTLxqewYd-A2r5GMbQFzoFbXixnogCLcBGAs/s1600/Unknown-1.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://4.bp.blogspot.com/-w_O5ijFviu4/Wnjhdf8av8I/AAAAAAAAKSs/xT9AfTLxqewYd-A2r5GMbQFzoFbXixnogCLcBGAs/s320/Unknown-1.jpeg" width="320" height="180" data-original-width="299" data-original-height="168" /></a></div></i>Two additional films (<i>The Silent Child</i> and <i>The Eleven O'Clock</i>) are fictional with <i>The Eleven O'Clock </i> serving as the group's only comic entry. Moving in its depiction of a family conflict, <i>Silent Child</i> focuses on a deaf girl whose preoccupied mother thwarts her daughter's development when she refuses to allow the girl to learn sign language. <p><i>The Eleven O'Clock</i> involves comic confusions in a psychiatrist's office, features sharp byplay from its actors and leads us to an amusing, though slightly predictable, conclusion.<p>Though based on a true story, <i>Dekalb Elementary</i> struck me as somewhat flat, although it does illuminate the brave efforts of an ordinary woman who tries to defuse a potentially violent situation. The starkly conceived <i>My Nephew Emmett</i> deals with volatile racial issues, calling attention to the Mississippi relatives the 14-year-old Till, who hailed from Chicago, was visiting at the time of his brutal murder.<p><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-vIVHf_W0CjY/Wnjhwo8ccaI/AAAAAAAAKS0/GfERKkzZtsQtg2FyyU0yvl3Ias8YP7PNwCLcBGAs/s1600/Unknown-2.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://4.bp.blogspot.com/-vIVHf_W0CjY/Wnjhwo8ccaI/AAAAAAAAKS0/GfERKkzZtsQtg2FyyU0yvl3Ias8YP7PNwCLcBGAs/s320/Unknown-2.jpeg" width="320" height="147" data-original-width="330" data-original-height="152" /></a></div>The Oscar-nominated documentary category also touches on a variety of hot-button topics: from a telling portrait of a mentally troubled artist (<i>Heaven is a Traffic Jam on the 405</i>) to an elderly interracial couple (<i>Eddie+Edith</i>) who are forced to separate when family intervenes. Eddie and Edith were 95 and 96 when they tied the knot.<p><i>Heroin(e)</i> examines the fight to curb rampant heroin use in a West Virginia town where fire chief Jan Rader devotes her days to rescuing addicts who have over-dosed. <i>Knife Skills</i> takes us to Cleveland restaurant where newly released convicts receive training in the culinary arts. <i>Traffic Stop</i> offers a timely look at the plight of Breaion King, a black teacher who's pulled over by a cop in Austin, Texas. The ensuing encounter, captured with disturbing dash-cam footage, highlights the issues that can arise when police encounter members of the black community. <p>Animated shorts include <i>Dear Basketball</i>, an ode to former Los Angeles Laker Kobe Bryant. This offering -- which tells of Bryant's early fascination with the game -- might have been more appealing if didn't feel so ego-driven. Bryant co-directed with Glen Keane and wrote the poem on which the movie is based. Bryant talks his love for basketball, but seldom mentions the team aspects of the game that he played with such undisputed brilliance. <p>In the darkly satirical<i> Garden Party</i>, frogs and toads take over a luxurious villa in the French countryside where evidence of rot seems to have been accumulating for months. <i>Lou</i>, an animated short from the Pixar powerhouse, deals with the reformation of a schoolyard bully. Finely wrought and artful, <i>Negative Space</i> tells the story of how a boy and his father bond over the fine art of suitcase packing. <p>In my favorite -- <i>Revolting Rhymes</i> -- <br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-6WiLz9Nls4A/WnjiAnq4W_I/AAAAAAAAKS4/4BBwSR6kaNET11XhKJLHjHkdGDyj66DGgCLcBGAs/s1600/RevoltingRhymes.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://3.bp.blogspot.com/-6WiLz9Nls4A/WnjiAnq4W_I/AAAAAAAAKS4/4BBwSR6kaNET11XhKJLHjHkdGDyj66DGgCLcBGAs/s320/RevoltingRhymes.jpg" width="320" height="180" data-original-width="1600" data-original-height="900" /></a></div>(photo above) we're treated to the story of the wolf from Little Red Riding Hood and other fairy tales as filtered through the urbane and slightly macabre sensibilities of Roald Dahl. <p>If I had a vote in these categories, I'd opt for <i>The Silent Child </i> in the live-action offerings; <i>Heaven is a Traffic Jam on the 405 </i> from the documentary category, and, as just suggested, <i>Revoting Rhymes</i> from the Academies collection of animated films.<p>A cautionary note: If you're looking to me for guidance in filling out your Oscar ballot in these categories, beware. My record for accurate predictions when it comes to short films is, to put it kindly, spotty. <br />http://denersteinunleashed.blogspot.com/2018/02/oscar-shorts-go-long-on-hot-topics.htmlnoreply@blogger.com (Robert Denerstein)0tag:blogger.com,1999:blog-3266940592422630617.post-6895495948141052538Thu, 01 Feb 2018 22:10:00 +00002018-02-01T21:16:12.755-07:00Adel KaramCamille SalamehDiamand Bou AbboudKamel El BashaRita HayekThe InsultZiad DoueiriSmall matter, big consequences<b><i>Oscar-nominated</i></b>, <b>The Insult</b> <b><i>examines conflicting passions in Lebanon</i></b>.<br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-X52X4Z8I22U/WnDeTAoHUZI/AAAAAAAAKR0/LE8JKvJXd-U-pfx34UhCmBUMShpekmaBgCLcBGAs/s1600/merlin_131902409_9322ad34-981b-40e0-9933-81e340d08ed2-master675.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://1.bp.blogspot.com/-X52X4Z8I22U/WnDeTAoHUZI/AAAAAAAAKR0/LE8JKvJXd-U-pfx34UhCmBUMShpekmaBgCLcBGAs/s400/merlin_131902409_9322ad34-981b-40e0-9933-81e340d08ed2-master675.jpg" width="400" height="267" data-original-width="675" data-original-height="450" /></a></div><p>To get the most out of the Lebanese film <i>The Insult</i> you’d do well to learn a little about the Lebanese Civil War, a struggle that began in 1975 and didn’t reach its bitter conclusion until 1990. <p>Director <i>Ziad Doueiri</i>’s movie is set firmly in the present, but the lingering hostilities generated during a horrible civil war filter through every frame of a story in which a trivial incident — replacement of a drain pipe — escalates into a courtroom battle. Inside the courtroom, all the country’s tensions erupt, sometimes in overly ripe fashion.<p>The story centers on Tony Hanna (<b>Adel Karam</b>), a mechanic who gets into a feud-like argument with a Palestinian refugee (<b>Kamel El Basha</b>). El Basha’s Yasser works as a foreman on a construction crew that’s trying to bring the buildings on Tony’s block up to code. For Tony, even an act of goodwill becomes an intrusion, particularly if the "intruder" is a Palestinian.<p>Tony’s pregnant wife (<b>Rita Hayek</b>) tries to temper her husband’s rage, but nothing pushes Tony off a course that stems from a terrible incident in his past. Yasser had nothing to do with what happened to Tony, but Tony's hatred has been generalized to include any Palestinian.<p>Yasser has his own problems with the past; he’s one of some 100,000 Palestinian refugees who has taken up residence in Lebanon. As a refugee, he’s unable to work as an engineer, his chosen field. He has been forced into supervising laborers, and he does so with ingenuity and mostly without complaint.<p>Both Karam and El Basha give strong performances, El Basha as a foreigner in a country in which many resent his presence. Karam’s Tony becomes Yasser's antagonistic opposite: He's always giving into his emotions. He won’t budge an inch when it comes to looking for a resolution to the conflict that consumes him.<p>In court, a female attorney (<b>Diamand Bou Abboud</b>) represents Yasser: Tony’s attorney (<b>Camille Salameh</b>) proves the more pragmatic and calculating of the two lawyers. <p>Doueiri (<i>The Attack</i>) has made a movie that hits its points on the nose, which some may find bothersome, but it’s helpful to remember that the lines of conflict that cut through every scene are drawn from reality.<p>Perhaps because <i>The Insult</i> spends much of its time in courtrooms, it occasionally loses a bit of steam, but Doueiri understands that the fate of every one of his characters is also the fate of a troubled country. Wisely, he refuses to allow us to forget those stakes.http://denersteinunleashed.blogspot.com/2018/02/a-small-matter-big-consequences.htmlnoreply@blogger.com (Robert Denerstein)0tag:blogger.com,1999:blog-3266940592422630617.post-2770075416970794691Thu, 01 Feb 2018 21:10:00 +00002018-02-01T14:11:45.529-07:00Agnes VardaFaces PlacesJRAgnes Varda and friend take to the road<div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-St2PfQekrBo/WnELy7nkSYI/AAAAAAAAKSE/eKGjNGrXEbsGtGon2lBzeZ0V1cXZs_0kQCLcBGAs/s1600/Faces_Places_8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://2.bp.blogspot.com/-St2PfQekrBo/WnELy7nkSYI/AAAAAAAAKSE/eKGjNGrXEbsGtGon2lBzeZ0V1cXZs_0kQCLcBGAs/s400/Faces_Places_8.jpg" width="400" height="225" data-original-width="835" data-original-height="470" /></a></div><b><i>Faces Places</i></b> — a documentary by <b>Agnes Varda</b> and a photographer known simply as JR — teams the 89-year-old director with a 33-year-old photographer who specializes in pasting large-format photographs on the least likely of places. Varda and JR set out on what appears to be a casual road trip. They stop, meet the locals, shoot photographs and paste them onto walls, shipping containers, large rocks and on the exterior of a decaying village that never had been inhabited. But if you think about what you’re watching, you’ll probably realize that this free-wheeling look at the traveling relationship between an older filmmaker with failing eyesight and a plucky young artist must have taken lots of planning — not to mention obtaining permissions to film in odd places. An example: A factory that manufactures hydrochloric acid. The relationship between Varda, who has adopted a two-tone hairstyle, and JR, who never removes his sunglasses, has some mildly testy moments (Varda doesn't always like JR's jokes), but mostly the two seem to enjoy each other’s company as they travel about celebrating and monumentalizing the lives of ordinary people. Filmmaker<b> Jean-Luc Godard</b>, a Varda compatriot from New Wave days, hovers over the movie, although he appears only a clip from one of Varda's films. At one point, JR pushes Varda through the Louvre in a wheelchair, paying homage to a scene Godard filmed for <i>Band of Outsiders</i>. The trip concludes when Varda and JR visit Godard’s home in Rolle, Switzerland. Godard refuses to answer the door, although he has scrawled a note on one of his house's windows. Her feelings hurt, Varda leaves her own note: “No thanks for your bad hospitality.” This little scene adds a note of sadness, a feeling that the past — no matter how vital it felt at the time — can’t be recaptured. At this point, JR senses Varda’s mood of melancholic acceptance. He tries to boost her spirits. But we know that for all its celebratory moments, nothing will overcome the feeling of evanescence that haunts this little movie: The art that JR makes surely will be ruined by weather and if he's lucky, he too eventually will experience the debilities of old age. But there’s nothing morbid in either the movie or in Varda’s attitude toward the conclusion of an amazing and well-lived life. At one point, she says she’s even looking forward to death because “that will be that.” No more films. No more adventures, but an ending that Varda seems to be approaching without regret and without abandoning her desire to live every moment until that final one.<br />http://denersteinunleashed.blogspot.com/2018/02/agnes-varda-and-friend-take-to-road.htmlnoreply@blogger.com (Robert Denerstein)0tag:blogger.com,1999:blog-3266940592422630617.post-4603138949172577085Thu, 25 Jan 2018 22:35:00 +00002018-01-25T22:05:38.249-07:00Annette BeingFilm Stars Don't Die in LiverpoolFrances BarberGloria GrahameJamie BellJulie WaltersKenneth CranhamPatrick McGuiganThe final years of actress Gloria Grahame<b>Film Stars Don’t Die in Liverpool</b> <b><i>but the movie, alas, does.</i></b><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-ENBdx4w4TM8/WmZYGIyy7QI/AAAAAAAAKQk/FJ0NPuGb5iUqG52PX8niEJPFEBHB3G2uACLcBGAs/s1600/merlin_131495888_f30182d0-f5d1-49d2-96c5-ada264c73015-master768.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://2.bp.blogspot.com/-ENBdx4w4TM8/WmZYGIyy7QI/AAAAAAAAKQk/FJ0NPuGb5iUqG52PX8niEJPFEBHB3G2uACLcBGAs/s320/merlin_131495888_f30182d0-f5d1-49d2-96c5-ada264c73015-master768.jpg" width="320" height="213" data-original-width="768" data-original-height="511" /></a></div><p>Peter Turner was a 26-year-old aspiring actor when he met Gloria Grahame in 1979. At the time, Grahame was a 55-year-old fading movie star appearing in a London production of <i>Rain</i>. The two began an affair that became the subject of a book by Turner, who, as a young man, was holding things together by working in a second-hand furniture store.<p>Grahame, who won a best-supporting-actress Oscar for her work in <i>The Bad and The Beautiful</i> (1952), was known mostly for playing the femme fatale in a variety of film noir movies. She died of cancer in 1981. <p>Of all the chapters in Grahame's life, the final one -- the subject of <i>Film Stars Don't Die in Liverpool</i> -- struck me as the least interesting. I took a quick trip to Wikipedia to refresh see if I might be right.<p>I think I was. Grahame was married four times. Her marriage to director Nicolas Ray fell apart when Ray caught Grahame in bed with Anthony Ray, his 13-year-old son from a former marriage. Grahame later married the young man, who by the time of the wedding had arrived in his 20s. When her third husband, Cy Howard, discovered she had secretly married the younger Ray, he sued her for custody of their daughter. <p>And I haven't even mentioned Grahame's screen life, which placed her opposite Humphrey Bogart in the great but somewhat overlooked <i>In a Lonely Place</i>. She also worked with in director Fritz Lang's <i>The Big Heat</i> and a variety of other movies. Grahame eventually drifted into a career in episodic television. When things really collapsed, she headed to England. She became Turner's lover and friends with his Liverpool-based family; they took her in when she was dying from cancer. <p>In director <b>Paul McGuigan</b>'s movie, <b>Annette Bening</b> plays Grahame. <b>Jamie Bell</b> portrays the devoted Turner, who at one point accompanies Grahame to Los Angeles and later to New York, but returns to England when Grahame gives him the cold shoulder. The actress had learned that her breast cancer had returned. As the movie has it, she didn’t want to involve Turner in a relationship. that had nowhere to go. <p>Bell does his best to convey a smitten young man whose patience eventually gives way to frustration, but who still spends time with Grahame when she takes up a brief residence with his parents (<b>Julie Walters</b> and <b>Kenneth Cranham</b>) in Liverpool.<p>McGuigan employs flashbacks as he moves from Grahame's cancerous languor in Liverpool to the story of Grahame's relationship with Turner. But by dwelling on this May/December romance and Grahame's illness, McGuigan doesn't really do justice to Grahame's life.<p>The movie manages to spit some welcome venom when we meet Grahame's mother (<b>Vanessa Redgrave</b>) and her sister (<b>Frances Barber</b>). It's not enough to save the movie.<p>Bening doesn't look like Grahame but conveys some of the grit and resilience of a star who has lost her luster. Still, the mournful, sentimental <i>Film Stars </i> misfires, perhaps because -- in focusing on Turner's book -- it slices too much meat off the bone of Grahame's tumultuous life.<br />http://denersteinunleashed.blogspot.com/2018/01/the-final-years-of-actress-gloria.htmlnoreply@blogger.com (Robert Denerstein)0tag:blogger.com,1999:blog-3266940592422630617.post-5062539712586886024Thu, 25 Jan 2018 20:10:00 +00002018-01-25T14:49:27.219-07:00Christian Arabs in IsraelHoly AirLaetitia EidoShady SrourTarek CoptyBottling the air from holy sites<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-ZcuZnD-633U/WmemPypNAeI/AAAAAAAAKRM/-XbeNvLlJLQMN2tJShOfJP2rxleCLo__wCLcBGAs/s1600/tff17_holy_air_2-h_2017.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://1.bp.blogspot.com/-ZcuZnD-633U/WmemPypNAeI/AAAAAAAAKRM/-XbeNvLlJLQMN2tJShOfJP2rxleCLo__wCLcBGAs/s400/tff17_holy_air_2-h_2017.jpg" width="400" height="225" data-original-width="928" data-original-height="523" /></a></div><p>Writer/director <b>Shady Srour</b> stars in <b> Holy Air</b>, a satirical take on a Christian Arab Israeli who embarks on a ridiculous entrepreneurial venture, trying to sell air that he has bottled at the top of Mount Precipice, outside Nazareth. Unable to accept Jesus as the Messiah, some residents of Nazareth attempted to push him off the cliffs of Mount Precipice. Obviously, they failed. This holy site inspires Stour’s Adam to attempt to create a business that will allow him to support his wife (<b>Laetitia Eido</b>) and the child they’re expecting. Adam's sales pitch: He claims to be selling the very same air that the Virgin Mary breathed during the Annunciation. An ardent defender of female sexuality, Eido’s Lamia becomes part of the many vexations faced by Adam, who clearly loves her. Meanwhile, Adam’s equally beloved father (<b>Tarek Copty</b>) is dying of cancer in a local hospital. Obvious satire about the commercialization of religion can carry the movie so far, and the most interesting thing about <b>Holy Air</b> becomes its depiction of the lives of Arab Christians living in Israel’s West Bank. Adam, like other residents of Nazareth, deals with insane traffic jams, as well as with hordes of religious tourists and the hucksters who try to fleece them — not to mention those who seem to be aligned against the Arab/Christian minority; i.e., just about everyone.http://denersteinunleashed.blogspot.com/2018/01/bottling-air-from-holy-sites.htmlnoreply@blogger.com (Robert Denerstein)0